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Chan 3013 Clive Barda/P.A.L. reatreat OperaticOperatic CHANDOS O PERA IN ENGLISH GG AARIASRIAS

Dennis O’Neill as Riccardo in the 1994 Royal Opera House production of

Verdi’s Un ballo in maschera DENNIS O’NEILL PETE
MOO
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Great Operatic Arias with Dennis O’Neill

Dennis O’Neill as Radames in the 1994 Royal Opera House production of Verdi’s Aida

Photo © Donald Cooper

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Giacomo Puccini (1858–1924) from A Masked Ball from Turandot Gustavus’s and Amelia’s Duet 1 Calaf’s Aria – ‘None may sleep!’ 3:44 [p. 44] 6 ‘Take my hand…’ – 1:31 [p. 45] (Nessun dorma) 7 ‘Don’t you know in my heart and my spirit…’ – 4:52 [p. 46] 8 ‘The sweetest glowing fire of love…’ 3:45 [p. 47] Giuseppe Verdi (1813–1901) (Teco io sto – Non sai tu che se l’anima mia) from Luisa Miller with Susan Bullock soprano 2 Rodolfo’s Aria – ‘Oft in the quiet evening hour…’ 4:19 [p. 44] (Quando le sere al placido) Gaetano Donizetti (1797–1848) from Lucia di Lammermoor from The Lombards at the First Crusade Aria Finale 3 Oronte’s Cavatina – ‘My heart is full of happiness’ 2:20 [p. 44] 9 ‘My ancestors lie here buried…’ – 4:33 [p. 48] (La mia letizia infondere) 10 ‘A lonely grave will shelter me…’ – 3:36 [p. 44] 11 ‘Such misfortune!…’ – 4:11 [p. 49] from The Force of Destiny 12 ‘Rest in peace, for I shall follow…’ 4:58 [p. 50] Alvaro’s Recitative and Romance (Fra poco a me ricovero) 4 ‘I am condemned to live in torment…’ – 3:48 [p. 45] with Clive Bayley bass . Geoffrey Mitchell Choir (men’s voices) 5 ‘You who are among th’angelic host…’ 3:18 [p. 44] (La vita è inferno)

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Giuseppe Verdi Giacomo Puccini from The Force of Destiny from Manon Lescaut Don Carlo’s and Alvaro’s Duet 18 Des Grieux’s Aria – ‘Never has any woman moved 13 ‘Careful… Lay him here…’ – 1:46 [p. 51] me so deeply…’ 3:01 [p. 53] 14 ‘In death’s awful shadow…’ 4:37 [p. 52] (Donna non vidi mai) (Piano… Qui posi… – Solenne in quest’ora) with Anthony Michaels-Moore baritone . Clive Bayley bass from Turandot 19 Calaf’s Aria – ‘Don’t cry for me Liù!’ 3:00 [p. 54] Francesco Cilea (1866–1950) (Non piangere, Liù) from The Maid of Arles Umberto Giordano (1867–1948) 15 Federico’s Lament – ‘Surely the shepherd’s story is from Fedora a sad one…’ 5:24 [p. 52] 20 (È la solita storia del pastore) Count Loris Ipanov’s Aria – ‘A love so pow’rful…’ 1:52 [p. 54] (Amor ti vieta)

Jules Massenet (1842–1912) Georges Bizet (1838–1875) from Manon from The Pearl Fishers 16 Des Grieux’s Dream Song – ‘Enchanting hour…’ – 21 Nadir’s and Zurga’s Duet – ‘And from the holy shrine…’ 6:00 [p. 54] ‘When I close my eyes…’ 3:43 [p. 53] (Au fond du temple saint) (En fermant les yeux) with Anthony Michaels-Moore baritone TT 79:05 [p. 44] Giacomo Meyerbeer (1791–1864) from The African Maid Dennis O’Neill tenor Vasco’s Recitative and Aria Philharmonia Orchestra 17 ‘What a wondrous sight…’ – Nicholas Kok assistant conductor ‘Oh land of dreams…’ 3:32 [p. 53] David Parry conductor (O paradis sorti de l’onde)

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his sorrow, ‘Rest in peace for I shall tone and a command of dynamic Great Operatic Arias follow’. Plunging a dagger in his breast, contrast. he dies at the feet of her bier to halting By the time Verdi reached A Masked phrases of deep eloquence that Ball, both his characterization and The tenor aria as a showpiece for a graphically illustrates. The adulation of pointedly describe his dying thoughts. musical style had become more complex unique voice and as a means of tenors isn’t only a phenomenon of this This scene is entirely the tenor’s and in and more demanding of his performers, expressing thoughts of love and/or century. The likes of Mario were that respect is unique in Donizetti. not least his tenors, nowhere more so anguish has been a feature of opera enormously fêted in the mid-nineteenth Coming after the soprano’s long Mad than in the Act II encounter between since its inception (think of Orpheus’s century and at its end Fernando De Scene it restores the balance between Riccardo (or King Gustavus in the magnificent solos in Monteverdi’s Lucia, the Neapolitan tenor, and one of the two principals. original Swedish setting) and his lover Orfeo). For a while the castrato usurped the first to record, had just as much of a The three solos representing Verdi Amelia, wife of his best friend [p. 45]. It the tenor’s place as primo uomo, mass-following as Pavarotti. arrestingly show the composer’s is by far Verdi’s, or any composer’s, most especially in the operas of Handel, but In the earliest piece chosen by Dennis increasing powers in using the tenor extended soprano–tenor duet to date. once that artificially created beast O’Neill, Edgardo pours out his sorrow aria as a means of expression. Oronte’s In impassioned phrases beginning ‘Take became an anachronism, the tenor was in his aria at the start of the final act of love-song, ‘My heart is full of happiness’ my hand… Don’t you know in my again leading man and lover, as in the Lucia di Lamermoor, ‘My ancestors lie [p. 44], from The Lombards at the heart and my spirit’, Riccardo appeals to operas of Mozart. By Rossini’s time, at here buried… A lonely grave will shelter First Crusade is a pleasing enough Amelia to confess her love. After she the outset of the nineteenth century, it me’ [p. 48]. At this stage he doesn’t declaration of ardour as far as it goes. does so, Verdi raises the erotic had become essential for the tenor to know of Lucia’s demise and ponders on By Luisa Miller, Verdi’s manner had temperature even further (Verdi knew have an aria, preferably to mark his his own decision to die because he become more refined and expansive: about these things through his long- entrance, and if possible at least one thinks her faithless. It is a subtly Rodolfo’s piece, ‘Oft in the quiet time association with Giuseppina more in the course of a work. Donizetti, developing piece typical of the mature evening hour’ [p. 44], in which he Strepponi) in, if we relate it to the old even more Verdi, then Puccini and his Donizetti, the phrasing shapely. At its grieves for his beloved Luisa’s apparent formats the composer improved on for coevals, deliberately conceived such arias conclusion, mourners approach and betrayal of him, is justly renowned in his own purposes, the cabaletta to the as being more than showpieces, often inform Edgardo of Lucia’s death. To one and out of context for its carefully duet. The intensity of passion expressed part of a character’s, and in some cases of Donizetti’s most plangent, wind- crafted line and instrumentation, is surpassed nowhere in Verdi’s whole the plot’s development as this recital supported melodies, Edgardo sings of a gift for a lyric tenor with honeyed opus and the end of the duet almost

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always results in a storm of applause the most famous duets in all Verdi, ‘In pieces in the vernacular, typical of all Lescaut, preceded both the indicative of its raw appeal to an death’s awful shadow’ [p. 51], (long ago the Opera in English series, is a laudable aforementioned operas. With Des audience’s emotions. achieving immortality in a recording by attempt to re-invent opera as a popular Grieux’s aria of rapture on seeing By the time he had reached The Caruso and Scotti that was in every art. Manon for the first time, ‘Never has any Force of Destiny, Verdi had adopted a opera-loving Edwardian home). In Loris’ short declamation of love for woman’ [p. 53], Puccini, to an extent, more heroic style for his leading tenor. ineffably eloquent phrases, the pair the heroine of the title in Giordano’s set the pattern of what was to follow in In the case of Alvaro’s reminsicences swear friendship and Alvaro (who Fedora, ‘A love so pow’rful’ [p. 54], is the next ten years in verismo works. The about his beloved Leonora (whom he survives after an operation to remove a the stuff of popular appeal. Caruso, who brevity of the aria as compared with believes to be dead) at the start of Act bullet) puts Carlo in charge of his created the role in 1898 in Milan, those for Verdi’s heroes is obvious, but III, ‘I am condemned to live in private effects. These will reveal to Carlo recorded the extract and sent it on its then Puccini was to make it up to his torment… You who are among his real identity – to disastrous effect. way to immortality, a piece that appears tenor with three more pieces and a deal th’angelic host’ [p. 45], this takes the Each of Verdi’s successors found his in any respectable tenor’s mixed recital. of duetting: indeed the part is one of form of a demanding, high-lying aria, own way to exploit the tenor voice’s A year earlier the same tenor – and the most taxing for a tenor in the whole the initial, broad-ranging idea developed possibilities. Their methods and their remember this was before his repertory. So important is the tenor’s into richly arched phrases calling for the harmony tended to be more complex international fame – had ensured the role that the opera might just as well utmost in control. than Verdi’s and the arias were more success of Cilea’s The Maid of Arles have been called ‘Des Grieux’: he plays Shortly after Alvaro sings this piece closely embedded in the through- with his account of the hero Federico’s such a major part in its structure. Here he meets and befriends his arch-enemy composed structures of the works by Lament, ‘Surely the shepherd’s story is he is at his happiest, his most carefree Don Carlo, as they are both are in the these verismo composers. Inevitably the a sad one’ [p. 52], another aria that (unless it be in his opening ‘Tra voi army in disguise. Alvaro has vocal style was looser, more effusive. goes to the listener’s heart, another piece belle’, before he becomes infatuated inadvertently killed Carlo’s father in a Remember, opera was by this time the that became an instant success with with the fickle Manon). It is a dispute over Carlo’s sister, Leonora, who popular music of its day, or at least the the public – and one that has easily trademark of Puccini’s writing for his loves Alvaro as much as he does her. equivalent of our musicals, with survived the neglect of the opera itself. tenors that he can characterize their Carlo has sworn revenge, not least principal arias alighted on by ordinary It is a beautifully designed piece, temperaments and moods in the most because Alvaro is of mixed race. In folk: nothing was then elitist about the offering the very essence of verismo succinct manner. Nothing could surpass battle Alvaro is wounded and, as he lies, art. So, in parenthesis here one might sentiment at its best. this particular aria in sheer unfettered apparently dying, the two sing one of say that this recital purveying these Puccini’s first major success, Manon ardour.

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By the mid 1920s, Puccini had more reticent and/or refined, but the dream of true love, so finely fashioned North American engagements have advanced further not only in his emotions expressed are just as deeply by Massenet, the more poignant. included the Metropolitan Opera, compositional style, but also in his felt. In the earlier of the two examples A similar French refinement is the Chicago Lyric Opera, San Francisco, ability both to establish a character here, those emotions are not of love hallmark of the noted duet, ‘And from San Diego, Vancouver Opera and through his or her arias and by but of astonishment. In Meyerbeer’s the holy shrine’ [p. 54], from Act I of concerts with the Philadelphia, integrating them into the structure exotic drama The African Maid, Vasco Bizet’s The Pearl Fishers where the old Cleveland, Montreal and Ottawa and texture of the work. Turandot was de Gama opens Act IV with an aria, friends Nadir and Zurga, tenor and Symphonies, and for the Cincinnati to be his last opera, and he was not ‘What a wondrous sight… Oh land of baritone, recall the beauty of Leila, the Festival. He is a frequent guest at the destined to finish it. In the hero Calaf’s dreams’ [p. 53], apostrophizing the unobtainable priestess they both loved. Bayerische Staatsoper, Munich. Act I aria, ‘Don’t cry for me Liù!’ island of Madagascar as he reaches its The main theme of the piece has gained Elsewhere in Europe he has appeared at [p. 54], the unknown Prince tries to shores. It is the epitome of the an extraordinary fame. This much-loved the opera houses of Vienna, Bonn, comfort the slave-girl Liù who is in love composer’s ‘Grand opéra’ approach, an duet represents the kind of music that Cologne, Nice, Zurich, Paris, Oslo, with him, urging her to continue to care expansive piece that has been favoured has justifiably won opera itself a Brussels and Barcelona. for his blind father Timur. Its objective by tenors ever since it was penned popularity beyond the public that Dennis O’Neill is also a busy concert expression of affection compares because of its chance for tenorial normally attend performances. artist and has sung with many of the starkly with the impassioned feeling display. world’s leading conductors, including Calaf displays for the icy heroine of Des Grieux’s lovely Dream Song, © 1998 Alan Blyth Muti, Mehta, Davis, Sinopoli, Gatti, the title (whose riddle he has solved) ‘Enchanting hour… When I close my Rattle, Mackerras and Slatkin. His in his famous aria of love, ‘None may eyes’ [p. 53], from Massenet’s Manon, Born in Wales of Irish and Welsh many recordings include solo albums, sleep!’ [p. 44]. Both are typical of requiring a more delicate style, has also parents, Dennis O’Neill is one of the Verdi’s Requiem with Sir Colin Davis, Puccini’s ability, in a short passage of been a favourite with tenors as, in the world’s leading tenors and a specialist in La fanciulla del West with Slatkin, videos time and music, to build to an most sensuous way, the Chevalier tells the works of Verdi. He has enjoyed a of Der Rosenkavalier with Solti, Die overwhelming climax. Manon of the ideal cottage where he long association with the Royal Opera, Fledermaus with Kiri te Kanawa French opera in the nineteenth hopes they will settle down, he not where his recent roles have included conducted by Domingo, Macbeth with century gave the tenor voice just as knowing that she has just committed Gustavo (Un ballo in maschera), Foresto Sinopoli, and Mefistofele for San many opportunities as Italian to display herself to a very different life, one of (Attila), Don Carlos and Radames Francisco. For Chandos/Peter Moores his art. The style may be that much luxury as a courtesan. That makes his (Aida). Foundation he has recorded Tosca,

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Cavalleria rusticana, Pagliacci and opera companies and symphony Chandos he has conducted the award- Ford and Diana Montague), La bohème, La bohème. orchestras. He gave the Spanish winning recording of Tosca, two Cavalleria rusticana, Pagliacci and Don premiere of Peter Grimes in Madrid, and recordings of operatic arias (with Bruce Pasquale. David Parry studied with Sergiu in 1996 he conducted the first Spanish Celibidache and began his career as Sir production of The Rake’s Progress, John Pritchard’s assistant. He made his inaugurated two new concert halls with debut with English Music Theatre and Beethoven’s Ninth Symphony and a went on to become a staff conductor at new opera house with Carmen. He has Dennis O’Neill as Foresto in the 1993 Städtische Bühnen Dortmund and at also appeared in Italy, where he Royal Opera House production of Verdi’s Attila Opera North. He was Music Director of conducted Ricciardo e Zoraide in the Opera 80 from 1983 to 1987, and since Rossini Opera Festival at Pesaro, in Photo © Clive Barda/P.A.L. 1992 has been the founding Music France, Germany, Belgium, Holland, Director of the contemporary opera and in Sweden where he conducted an festival Almeida Opera. acclaimed production of Britten’s He pursues a busy career both in A Midsummer Night’s Dream. opera and in concert. His repertoire Outside Europe David Parry has extends from Mozart and early appeared at the Hong Kong nineteenth-century Italian opera to International Festival, with the UNAM Janácˇek, Britten and contemporary Symphony Orchestra at Mexico City, music. In England he has appeared with a tour of Carmen in Japan and, in regularly at English National Opera and 1996, conducting a new production of in concert with the Philharmonia Katya Kabanova for the New Zealand Orchestra. In 1996 he made his debut Festival. at the Glyndebourne Festival with Così He has recorded extensively for the fan tutte. Opera Rara label, including Donizetti’s He is a frequent visitor to Spain Rosmonda d’Inghilterra, which won the where he has appeared with most of the Prix Cecilia in Belgium, and for

14 CHAN 3013BOOK.qxd15/10/0711:22amPage16 1992 hebecameaDeputy Lieutenantof the Tate from 1978until1985.In Gallery May he wasaGovernor oftheBBC,anda Trustee of director ofamerchant bank.From 1981to1983 although stillremaining ontheBoard, andwas Three years laterhesteppeddown from thepost, Liverpool immediately. Family loyalty wasparamountandhereturned to him tocomehomeashewasneededinthefirm. point hereceived aletterfrom hisfatherasking seemed setforasuccessfuloperaticcareer. At this the Geneva Festival andtheRome Opera, and Producer attheSan Carlo Opera House, Naples, ofLucretiaThe Rape produced the Viennese premiere ofBritten’s Viennese Academy ofMusic andDramatic Art. enrolled aswell forafour-year courseatthe buttheafternoonswereperformances, free, sohe attend morningrehearsals andevening Oxford tobecomeaproduction studentatthe Vienna State Opera. He wasrequired to Glyndebourne before goinguptouniversity, andattheendofhissecondyear heleft German andItalian. It wasoperawhichhisgreat love, however. He hadworked at Christ Church, Oxford, where heread Modern Languages.He wasalready fluentin mailorder,Littlewoods chainstore andfootballpools group. He waseducatedatEton and Peter Moores wasborninLancashire in1932,sonofSir John Moores, founderofthegiant By 1977hewasChairmanofLittlewoods. By theendofhisthird year Moores had , hadworked asAssistant EE MOORES,CBE,DL PETER 16 Peter Moores, CBE,DL.

Christina Burton/PMF before inEngland. performed visitor –oritmayfundtheproduction atGlyndebourne of £2.50 perticket–theprovision beingthat eachticketholdermustbeafirst-timeopera Welsh National foraweek Opera, attheLiverpool performing Empire andchargingonly the keyword. (theageof century on’. Others are ofinteresting Italian butunperformed operasfrom theearlynineteenth ‘what peoplewantistobeablefollow theplotofanoperaandunderstandwhatisgoing are sunginEnglish, intranslation,becauseMoores believes thatinthepopularrepertoire, the repertoire. to enableasingerstudyabroad, role ortowork withanacknowledged onanew in expert opera singersthrough theRoyal Northern CollegeofMusic. Financial helpmaybegiven also In thefieldofmusic,Peter Moores Foundation awards scholarshipstopromising young about £33millionintoday’s money. relations. 99%oftheFoundation’s moneyhascomefrom Peter Moores’s own pocket –sofar people; togive encouragementtotheyoung; tofightdiscriminationandimprove race more tomakemusicandthearts accessibletomore thosecausesdeartohisheart: to support aside alargesliceofhisinheritancetofoundthePeter Moores Foundation, acharitydesigned famous. Moores hasalwaysbeenastuteinhisrecognition ofpotentialquality. In 1964heset whom –suchasGeraint Evans, Joan Sutherland andColinDavis –have sincebecomeworld- totheArts. charitable services for1991hewasmadeaCBEhis Lancashire. AndintheNew Year’s Honours List h i sawy h ae availability. ‘Share andenjoy’ ishisphilosophy. The aimisalwaysthesame: The samecriterionholdswhere live operaisconcerned. So theFoundation maysponsor In thelasttwenty years theFoundation therecording hassupported operas.Many offorty He tovarious hisearlytwenties several young givingfinancialsupport of hadstarted artists, bel canto ), which are otherwise onlyaccessibletoscholars.Accessibility), whichare is otherwise EE ORSFOUNDATION MOORES PETER 17 Ermione , a bel canto opera never CHAN 3013 BOOK.qxd 15/10/07 11:22 am Page 18

mit dem Gedanken, zu sterben, da er sie die Tenorarie als Ausdrucksmittel Große Opernarien für treulos hält. Die Arie entfaltet sich einzusetzen. Bereits Orontes Liebeslied in subtiler Weise mit für den reifen aus I Lombardi, “My heart is full of Donizetti typischer ausgewogener happiness”, ist eine recht gelungene Seit Beginn der Oper ist die Tenorarie vor allem Verdi solche Arien nicht als Phrasierung ist. Gegen Ende nähern Darstellung feurigen Verlangens. Doch als Bravourstück für außergewöhnliche reine Bravourstücke, sondern gezielt um sich einige Trauernde und teilen schon in Luisa Miller ist Verdis Stil Stimmen wie auch als Ausdrucksmittel eine Figur – und gelegentlich auch die Edgardo Lucias Tod mit. Zu einer von differenzierter und ausladender: für extreme Gefühle wie Liebe oder Handlung – zu entwickeln; hiervon den Holzbläsern unterstützen Melodie, Rodolfos Arie “Oft in the quiet evening Seelenqual eingesetzt worden (man vermittelt das vorliegende Recital ein die zu den klagevollsten in Donizettis hour”, in der er die angebliche Untreue denke an die großartigen Soli des klares Bild. Die Verherrlichung von Schaffen gehört, besing Edgardo seinen seiner geliebten Luisa beklagt, wird Orpheus in Monteverdis Orfeo). Eine Tenören ist nicht nur ein Phänomen Kummer: “Rest in peace for I shall zurecht sowohl separat als auch im Zeitlang usurpierten Kastraten die Rolle dieses Jahrhunderts. Gestalten wie follow”. Indem er einen Dolch in seine Kontext für ihre sorgfältig gestaltete des primo uomo, besonders in den Mario wurden um die Mitte des Brust stößt, stirbt er zu Füßen ihrer Melodie und Instrumentierung Opern Händels, doch sobald dieses 19. Jahrhunderts enthusiastisch gefeiert, Bahre – begleitet von zögernden gerühmt – ein Geschenk für einen künstlich geschaffene Wesen zum und der neapolitanische Tenor Fernando Phrasen von tiefer Eloquenz, die seine Tenor mit samtener Stimme und der Anachronismus geworden war, De Lucia, der als einer der ersten letzten Empfindungen treffend Fähigkeit, dynamische Kontraste zu übernahm wieder der Tenor die Rolle Schallaufnahmen machte, hatte eine untermalen. Die gesamte Szene ist beherrschen. von männlicher Hauptperson und ebenso große Anhängerschaft wie ausschließlich dem Tenor zugeeignet Zu dem Zeitpunkt, als Verdi seine Liebhaber, wie zum Beispiel in den Pavarotti. und in dieser Hinsicht in Donizettis Oper Ein Maskenball komponierte, Opern Mozarts. In der Ära Rossinis, zu In dem frühesten von Dennis O’Neill Werk einzigartig. Da sie auf die waren seine Charakterisierungskunst Beginn des 19. Jahrhunderts, war die ausgewählten Stück verleiht Edgardo in ausgedehnte Wahnsinnsszene des und sein musikalischer Stil komplexer Soloarie – möglichst gleich zu Beginn seiner Arie zu Beginn des letzten Aktes Soprans folgt, stellt sie die Balance geworden, doch stellte er auch größere seines Auftritts – für den Tenor von Lucia di Lammermoor seinem zwischen den beiden Hauptfiguren Ansprüche an die Interpreten und unabdingbar geworden, und wenigstens Schmerz Ausdruck: “My ancestors lie wieder her. besonders an die Tenöre; dies zeigt sich eine zweite folgte im weiteren Verlauf here buried… A lonely grave will shelter Die drei Soli aus Verdi-Opern vor allem auch in Akt II in dem des Werks. Mehr als Puccini und seine me”. Zu diesem Zeitpunkt weiß er noch demonstrieren eindrucksvoll die Zusammentreffen zwischen Riccardo Zeitgenossen entwarfen Donizetti und nicht von Lucias Tod und spielt selbst wachsende Fähigkeit des Komponisten, (bzw. König Gustavus in der

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schwedischen Originalfassung) und Als er Die Macht des Schicksals Sterben zu liegen scheint, singen die populärste musikalische Genre war, seiner Geliebten Amelia, der Frau seines komponierte, hatte Verdi für seine beiden eines der berühmtesten Duette zumindest jedoch stellte sie das besten Freundes. Dies ist – nicht nur im führende Tenorrolle einen heroischeren Verdis, “In death’s awful shadow” Äquivalent der heutigen Musicals dar: Schaffen Verdis – bei weitem das Stil entwickelt. Zu Beginn von Akt III (Unsterblichkeit erlangte dieses Duett in Die Menge war vor allem an den ausgedehnteste Sopran–Tenor-Duett, zum Beispiel, als Alvaros sich an seine einer Aufnahme von Caruso und Scotti, Stararien interessiert, und der Kunst das es bisher in der Opernliteratur gibt. geliebte Leonora (die er für tot hält) die in der “Edwardian” Ära in jedem haftete nichts Elitäres an. Man könnte Beginnend mit “Take my hand… Don’t erinnert – “I am condemned to live in opernliebenden Heim zu finden war). also sagen, daß dieses Recital, das – wie you know in my heart and my spirit”, torment… You who are among In überaus eloquenten Phrasen alle Veröffentlichungen in der Reihe bestürmt Riccardo Amelia mit th’angelic host” –, zeigt sich dieser neue schwören die beiden ewige Freundschaft “Opera in English” – die Stücke auf leidenschaftlichen Worten, ihm ihre Stil in einer anspruchsvollen und Alvaro (der nach einer Operation Englisch darbietet, einen lobenswerten Liebe zu gestehen. Nachdem sie dies hochliegenden Arie, deren anfänglicher, überlebt) betraut Carlo mit der Versuch darstellt, die Oper wieder als getan hat, hebt Verdi in der Cabaletta breit angelegter musikalischer Gedanke Verwaltung seiner Privatgeschäfte. Auf populäre Kunst zu etablieren. zu dem Duett – wenn wir uns auf die in reichgeschwungene Phrasen übergeht, diesem Weg erfährt Carlo von seiner Loris’ kurze Liebeserklärung an die alten Formen beziehen wollen, die der die der Stimme höchste Präzision tatsächlichen Identität, und dies hat Titelheldin von Giordanos Fedora, Komponist für seine Zwecke abverlangen. katastrophale Folgen. “A love so pow’rful” ist auf Popularität weiterentwickelte – die erotische Kurze Zeit nachdem Alvaro dieses Verdis Nachfolger fanden jeder seine hin angelegt. Caruso, der die Rolle Temperatur noch weiter an (aufgrund Stück singt, freundet er sich mit seinem eigene Art, das Potential der 1898 in Mailand sang, machte eine seines langen Verkehrs mit Giuseppina Erzfeind Don Carlo an, der, wie auch Tenorstimme auszuschöpfen. Die Aufnahme dieses Auszugs und Strepponi wußte Verdi über diese Dinge Alvaro selbst, verkleidet in der Armee Methoden und harmonischen Konzepte garantierte so dessen Unsterblichkeit; Bescheid). Die Intensität der hier dient. In einem Streit über Carlos dieser Komponisten des Verismo waren auch heute noch gehört das Stück zum ausgedrückten Leidenschaft wird Schwester Leonora, die ihn ebenso im allgemeinen komplexer als Recital-Repertoire jedes angesehenen vielleicht nirgends in Verdis gesamten heftig liebt wie er sie, hat Alvaro diejenigen Verdis, und die Arien waren Tenors. Ein Jahr zuvor hatte Caruso – Schaffen übertroffen, und das Duett unbeabsichtigt Carlos Vater getötet. genauer in die durchkomponierten und dies noch vor seinem endet fast immer in stürmischem Carlo hat geschworen, sich zu rächen – Strukturen der Werke eingebettet. internationalen Durchbruch – Cileas Applaus, ein Zeichen für seine nicht zuletzt auch, weil Alvaro von den Zugleich war der Vokalstil unweigerlich L’arlesiana mit seiner Klage des Helden unmittelbare Wirkung auf die Inkas abstammt. Alvaro wird in einer lockerer, überschweng-licher. Man muß Federico, “Surely the shepherd’s story is Emotionen des Publikums. Schlacht verwundet, und als er im bedenken, daß die Oper seinerzeit das a sad one”, zum Erfolg verholfen, eine

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weitere Arie, die dem Hörer zu Herzen ihrer Struktur zufällt. Hier zeigt er sich zum Ausdruck kommende Zuneigung er die Insel Madagaskar bei seiner geht, ein weiteres Stück, das unmittelbar von seiner glücklichsten und steht in starkem Kontrast zu den Landung besingt. Für den Komponisten zum Publikumserfolg wurde und auch sorglosesten Seite (es sei denn in seiner leidenschaftlichen Empfindungen, die war dies der Inbegriff der “Grand heute noch bekannt ist, während die Eröffnungsarie “Tra voi belle”, bevor er Calaf in seiner berühmten Liebesarie opéra”, ein ausgedehntes Stück, das Oper selbst längst in Vergessenheit sich in die wankelmütige Manon “None may sleep!” der eisigen Tenöre wegen der hier gebotenen geriet. Das Stück ist einzigartig gestaltet verliebt). Die Fähigkeit, die Titelheldin (deren Rätsel er gelöst hat) Möglichkeiten der Darstellung ihrer und bietet in schönster Weise die ganze Temperamente und Stimmungen seiner entgegenbringt. Beide Arien sind Kunst seit jeher besonders geliebt Gefühlswelt des Verismo. Tenorrollen in knappster Manier zu typisch für Puccinis Fähigkeit, in engem haben. Puccinis erster großer Erfolg, Manon charakterisieren, ist ein Markenzeichen zeitlichen und musikalischen Rahmen Ebenfalls ein Favorit der Tenöre Lescaut, entstand vor den beiden von Puccinis Komponierweise. In ihrer einen überwältigenden Höhepunkt ist das liebliche Traumlied von Des genannten Opern. Mit der Arie des von schieren ungedämpften Glut ist diese aufzubauen. Grieux, “Enchanting hour… When seinem ersten Anblick von Manon Arie unübertroffen. Auch die französische Oper des I close my eyes” aus Massenets Manon, bezauberten Des Grieux, “Never has any In der Mitte der 1920er Jahre hatte 19. Jahrhunderts gab der Tenorstimme das eine feinere Vortragsweise verlangt woman”, bereitete Puccini in gewissem Puccini sich nicht nur kompositorisch eine Vielzahl von Gelegenheiten, ihre und in dem der Chevalier auf überaus Maße den Weg des Verismo für die weiterentwickelt, sondern auch in seiner Kunst zur Schau zu stellen. Der Stil sinnliche Weise Manon von der folgenden zehn Jahre. Auffällig ist die Fähigkeit, eine Figur nicht nur mittels mag zwar zurückhaltender und idealen Hütte erzählt, in der er sich Kürze dieser Arie im Vergleich zu denen seiner oder ihrer Arien zu raffinierter sein, doch die zum mit ihr niederzulassen hofft – nicht von Verdis Helden, doch Puccini charakterisieren, sondern diese auch in Ausdruck kommenden Emotionen wissend, daß sie sich gerade zu einem entschädigt seinen Tenor mit drei die Struktur der Komposition zu erreichen die gleiche Tiefe. In dem ganz anderen Leben verpflichtet hat, weiteren Stücken und einigen Duetten; integrieren. Turandot sollte seine letzte früheren der beiden hier vorgestellten dem Luxusdasein einer Kurtisane. insgesamt ist diese Rolle eine der Oper werden, und es war ihm nicht Beispiele handelt es sich bei diesen Dies läßt seinen von Massenet so anstrengendsten Tenorpartien des vergönnt, sie zu vollenden. In Calafs Emotionen jedoch nicht um Liebe, fein gezeichneten Traum von der gängigen Repertoires. Tatsächlich ist Arie aus Akt I, “Don’t cry for me Liù!”, sondern um Erstaunen. In Meyerbeers wahren Liebe um so pointierter diese Tenorrolle von derart großer versucht der unbekannte Prinz, das in exotischem Drama Die Afrikanerin erscheinen. Wichtigkeit, daß man die Oper ebenso ihn verliebte Sklavenmädchen Liù zu eröffnet Vasco da Gama den vierten Eine ähnliche französische Finesse gut “Des Grieux” hätte nennen können, trösten, und drängt sie, für seinen Akt mit der Arie “What a wondrous zeichnet das bekannte Duett “And from da diesem ein solch zentraler Part in blinden Vater Timur zu sorgen. Die hier sight… Oh land of dreams”, mit der the holy shrine” aus dem ersten Akt von

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Bizets Die Perlfischer aus, in dem die anderem an der Metropolitan Opera, an Sinopoli und Mefistofele für San Philharmonia Orchestra, 1996 machte alten Freunde Nadir und Zurga, Tenor der Chicago Lyric Opera, an den Francisco. Für Chandos und die Peter er mit Così fan tutte sein Debüt bei dem und Bariton, sich an die Schönheit von Opernhäusern von San Francisco, Moores Foundation hat er Tosca, Glyndebourne Festival. Leila erinnern, dem Mädchen, das sie San Diego und Vancouver engagiert Cavalleria rusticana, Pagliacci und David Parry gastiert häufig in beide geliebt haben. Das Hauptthema und hat Konzerte mit den La bohème aufgezeichnet. Spanien, wo er bereits mit den meisten dieser Komposition hat einen Sinfonieorchestern von Philadelphia, Opernkompanien und Sinfonie- erstaunlichen Bekanntheitsgrad erreicht. Cleveland, Montreal und Ottawa sowie David Parry studierte bei Sergiu orchestern aufgetreten ist. Die spanische Dieses vielgeliebte Duett steht für beim Cincinnati Festival gegeben. Celibidache und begann seine Laufbahn Premiere von Peter Grimes fand unter die Art von Musik, die mit gutem Er ist häufig an der Bayerischen als Sir John Pritchards musikalischer seiner Leitung in Madrid statt; 1996 Grund der Gattung Oper eine Staatsoper in München zu Gast und Assistent. Er debütierte mit dem English dirigierte er die erste spanische Popularität errungen hat, die weit über ist in Europa außerdem an den Music Theatre und wurde Kapellmeister Inszenierung von The Rake’s Progress das übliche Opernpublikum hinaus Opernhäusern von Wien, Bonn, an den Städtischen Bühnen Dortmund (Strawinsky) und weihte zwei neue ihre Kreise zieht. Köln, Nizza, Zürich, Paris, Oslo, sowie an Opera North in Leeds. Von Konzertsäle mit der Neunten Sinfonie Brüssel und Barcelona aufgetreten. 1983 bis 1987 fungierte er als von Beethoven sowie ein neues © 1998 Alan Blyth Dennis O’Neill ist auch ein Musikdirektor für Opera 80 und seit Opernhaus mit Carmen ein. In Italien Übersetzung: Stephanie Wollny vielbeschäftigter Konzertsänger und hat 1992 ist er der Musikdirektor (und leitete er Ricciardo e Zoraide bei dem mit vielen weltweit führenden Gründer) des zeitgenössischen Opern- Rossini-Festival in Pesaro. Er tritt in Dennis O’Neill, der als Sohn irischer Dirigenten zusammengearbeitet, so Festivals Almeida Opera. Frankreich, Deutschland, Belgien, den und walisischer Eltern in Wales geboren auch mit Muti, Mehta, Davis, Sinopoli, Parrys Tätigkeitsbereich ist nicht nur Niederlanden und Schweden auf, wurde, ist einer der führenden Tenöre Gatti, Rattle, Mackerras und Slatkin. das Opernhaus, sondern auch der wo er eine gefeierte Inszenierung von der Welt und Verdi-Spezialist. Er Zu seinen zahlreichen Aufnahmen Konzertsaal. Sein Repertoire erstreckt Brittens A Midsummer Night’s Dream unterhält seit langem Verbindungen zur zählen Soloalben, Verdis Requiem mit sich von Mozart und der italienischen dirigierte. Londoner Royal Opera und hat dort in Sir Colin Davis, La fanciulla del West Oper des frühen 19. Jahrhunderts bis zu Außerhalb Europas ist David Parry letzter Zeit Gustavo (Un ballo in mit Slatkin und folgende Videos: Der Janácˇek, Britten und zeitgenössischer bei dem Hongkong International maschera), Foresto (Attila), Don Carlos Rosenkavalier mit Solti, Die Fledermaus Musik. In England dirigiert er Festival und mit dem UNAM und Radames (Aida) gesungen. mit Kiri Te Kanawa unter der Leitung regelmäßig an der English National Symphony Orchestra in Mexico City In Nordamerika war er unter von Placido Domingo, Macbeth mit Opera und konzertiert mit dem aufgetreten, war mit Carmen in Japan

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auf Tournee und leitete eine ausgezeichnet wurde; für Chandos hat Neuinszenierung von Katja Kabanova er eine preisgekrönte Tosca Grands airs d’opéra für das Festival in Neuseeland. aufgenommen, zwei Aufnahmen Parry hat zahlreiche Werke für das operatischen Arien (mit Bruce Ford und Label Opera Rara eingespielt, zuletzt Diana Montague), La bohème, Depuis les origines de l’opéra, l’aria du important que celui de simple vitrine, Rosmonda d’Inghilterra von Donizetti, Cavalleria rusticana, Pagliacci und Don ténor a toujours constitué la vitrine souvent une véritable facette du das in Belgien mit dem Prix Cecilia Pasquale. d’une voix unique ainsi qu’un moyen personnage, et dans certains cas le d’exprimer des sentiments d’amour développement de l’intrigue ainsi que et/ou d’angoisse (Pensez aux merveilleux l’illustre ce récital. L’adulation des ténors solos d’Orphée dans l’Orfeo de n’est pas un phénomène de notre siècle Monteverdi). Pendant un certain temps, uniquement. Au milieu du XIXe siècle, le castrat usurpa la place du ténor en les semblables de Mario étaient tant que primo uomo, particulièrement extraordinairement fêtés et Fernando De dans les opéras de Haendel, mais une Lucia, le ténor napolitain, et l’un des fois que cette bête créée de toutes pièces premiers à enregistrer, avait une escorte fut devenue anachronique, le ténor populaire presque aussi importante que reprit sa place de meneur et d’amant celle de Pavarotti. comme l’illustrent les opéras de Mozart. Dans la première pièce choisie par Du temps de Rossini, au début du Dennis O’Neill, Edgardo exprime toute XIXe siècle, il était devenu essentiel sa douleur dans son aria du début de pour le ténor d’avoir une aria, l’acte ultime de Lucia di Lamermoor: préférablement au moment de son “My ancestors lie here buried… A lonely entrée en scène, et si possible au moins grave will shelter me”. A ce moment-là, une de plus dans le courant de l’œuvre. il ignore encore le décès de Lucia et Donizetti, et Verdi plus encore, puis médite sur sa propre décision de mourir Puccini et ses semblables conférèrent à parce qu’il la croit infidèle. C’est une de telles arias un rôle délibérément plus pièce au développement subtil, typique

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de la maturité de Donizetti par son est devenue plus raffinée et expansive: le amour. A la suite de sa confession, Verdi dans l’armée. Alvaro a malencontreuse- phrasé admirable. A sa conclusion, le passage de Rodolfo “Oft in the quiet fait monter la tension érotique (Verdi s’y ment tué le père de Don Carlo au cours cortège funèbre approche et informe evening hour”, dans lequel il pleure la connaissait en la matière par le biais de d’une querelle au sujet de la soeur de Edgardo de la mort de Lucia. Sur l’une trahison apparente de sa bien-aimée sa longue association avec Giuseppina Carlo, Leonora, qui aime Alvaro autant des mélodies les plus poignantes de Luisa, est apprécié à juste titre pour Strepponi) dans la cabaletta du duo, si qu’il l’aime. Carlo s’est juré de se venger, Donizetti, Edgardo chante sa douleur, l’habileté de sa ligne mélodique et de nous nous référons aux normes le sang inca d’Alvaro ne constituant pas “Rest in peace for I shall follow”. son instrumentation, un véritable anciennes que Verdi améliora à ses un moindre motif. Dans la bataille, Plongeant une dague dans son coeur, il cadeau pour un ténor lyrique au timbre propres fins. L’intensité de la passion Alvaro est blessé, et tandis qu’il repose, rend l’âme aux pieds de son cercueil de velours et répondant à l’exigence exprimée ne se voit surpassée nulle part apparemment sur le point de mourir, les murmurant quelques phrases d’une d’un contraste dynamique. dans toute l’œuvre de Verdi et la fin du deux entament l’un des duos les plus profonde éloquence qui décrivent avec Au moment où Verdi s’attaqua à duo déclenche presque toujours un célèbres dans l’oeuvre de Verdi “In précision ses pensées au bord de Un ballo in maschera, son art de la torrent d’applaudissements révélateur de death’s awful shadow” (immortalisé il y l’agonie. Cette scène est entièrement caractérisation et son style musical son impact profond sur le public. a très longtemps dans un enregistrement celle du ténor, et dans cette perspective étaient devenus plus complexes et plus A l’époque de La forza del destino, de Caruso et Scotti que toute foyer elle est unique chez Donizetti. Placée difficiles pour ses interprètes, en Verdi avait adopté un style plus héroïque amateur d’opéra possédait du temps du après la longue scène de folie de la particulier pour ses ténors, et nulle part pour son ténor lyrique. Dans le cas Roi Edouard d’Angleterre). Dans une soprano, elle restaure l’équilibre entre les plus que dans la rencontre de d’Alvaro se remémorant sa bien-aimée éloquence ineffable, les deux deux principaux rôles. l’Acte II entre Riccardo (ou le Roi Leonora (qu’il croit morte) au début de protagonistes se déclarent leur amitié et Les trois solos représentant Verdi de Gustavus dans la version suédoise l’Acte III “I am condemned to live in Alvaro (qui survit grâce à une opération manière frappante démontrent la d’origine) et sa bien-aimée Amelia, torment… You who are among d’enlever une balle) confie à Carlo ses capacité grandissante du compositeur à épouse de son meilleur ami. C’est de th’angelic host”, ceci se traduit par une effets personnels. Ceux-ci révèleront à utiliser l’aria du ténor comme moyen loin le duo ténor–soprane le plus long aria dans les notes les plus aigues, l’idée Carlo sa véritable identité – avec les d”expression. Le chant d’amour de Verdi ou de tout autre compositeur. initiale évoluant vers de riches phrases en conséquences désastreuses que cela d’Oronte “My heart is full of Par des phrases pleines de passion telles arc et requérant le plus grand contrôle. entraîne. happiness”, tiré de I Lombardi est une que “Take my hand… Don’t you know Peu de temps après, Alvaro rencontre Tous les successeurs de Verdi déclaration d’ardeur assez plaisante. in my heart and my spirit”, Riccardo et sympathise avec son ennemi juré Don trouvèrent un moyen propre pour Dans Luisa Miller, la méthode de Verdi supplie Amelia de lui confesser son Carlo, mais tous deux se sont travestis exploiter les possibilités de la voix de

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ténor. Leurs méthodes et leurs pour voix de ténor digne de ce nom. Un indubitable, mais Puccini allait se et il ne devait pas l’achever. Dans harmonies tendaient vers une plus an plus tôt le même ténor – et rattraper avec trois pièces l’Acte I, l’aria du héros Calaf “Don’t cry grande complexité que celles de Verdi et souvenez-vous, c’était bien avant supplémentaires pour son ténor et de for me Liù!”, le Prince inconnu essaie de les arias s’inséraient de manière plus d’atteindre sa renommée internationale nombreux duos: en effet, la partie de réconforter l’esclave Liù qui est intime dans la structure des oeuvres de – avait assuré le succès de L’arlésienne ténor est l’une des plus lourdes de tout amoureuse de lui, la conjurant de ces compositeurs véristes. Inévitable- de Cilea par le récit des plaintes du le répertoire du genre. Le rôle du ténor s’occuper de son père aveugle Timur. ment, leur style vocal était plus délié, héros Federico “Surely the shepherd’s est tellement important que l’opéra L’expression objective de son affection plus démonstratif. Souvenez-vous, story is a sad one”, une autre aria qui va aurait très bien pu s’intituler “Des est comparable aux sentiments l’opéra en ce temps-là était la musique droit au coeur de l’auditeur, une autre Grieux”: il tient un rôle majeur dans sa passionnés que Calaf démontre à la populaire de son époque, ou du moins pièce qui connut un succès instantané structure. Sa partie compte parmi les glaciale héroïne du titre (dont il a résolu l’équivalent de nos comédies musicales, auprès du public – et l’une des rares à plus gaies, les plus insouciantes (sauf l’énigme) dans sa fameuse aria d’amour les arias principales se dégageant sur un avoir survécu à la désaffection générale dans son introduction “Tra voi belle”, “None may sleep!” (Nessun dorma). fond de musique populaire: rien dans de l’opéra. C’est une pièce admirable- avant qu’il ne tombe amoureux de la Puccini révèle dans ces deux arias son cet art n’était élitiste. Par conséquent, ment constituée, offrant la quintessence capricieuse Manon). Un trait talent à élaborer, dans un court laps de pour faire une parenthèse d’aucuns du sentiment vériste sous son meilleur caractéristique de l’écriture de Puccini temps et de musique, un paroxysme pourraient dire que ce récital, donné jour. pour ses ténors est sa capacité à irrésistible. dans la langue vernaculaire, est une Puccini était un peu plus vieux que caractériser leurs tempéraments et leurs L’opéra français du XIX siècle louable tentative de réinventer l’opéra Giordano ou que son premier grand humeurs d’une manière des plus accordait au ténor tout autant comme un art populaire. succès. Manon Lescaut précéda les deux succintes. Rien ne peut surpasser cette d’opportunités pour démontrer son art. La courte déclaration d’amour de opéras mentionnés précédemment. Avec aria dans son ardeur sans entraves. Le style peut sembler un peu plus Loris à l’héroïne donnant son nom à l’aria dans laquelle Des Grieux exprime Au milieu des années 1920, Puccini réservé et/ou raffiné, mais les émotions l’opéra de Giordano Fedora “A love so son ravissement à la vue de Manon avait évolué non seulement dans son exprimées sont aussi profondément pow’rful”, est la matière dont se nourrit “Never has any woman”, Puccini pose, style compositionnel mais aussi dans ressenties. Dans le premier des deux le public populaire. Caruso, qui créa le dans une certaine mesure, les jalons des son talent à définir un personnage par exemples, ces émotions ne sont pas rôle en 1898 à Milan, enregistra l’extrait dix années à venir dans l’histoire du ses arias et à intégrer celles-ci dans la celles de l’amour mais de la surprise. et ainsi l’immortalisa, une pièce qui vérisme. La brièveté de l’aria comparée structure et la texture de l’œuvre. Dans le drame exotique de Meyerbeer apparait désormais dans tout récital avec celles des héros de Verdi est Turandot devait être son dernier opéra, L’africaine, Vasco de Gama entame

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l’Acte IV avec une aria “What a l’Acte I des Pêcheurs de perles de Bizet York, à l’Opéra de Chicago, à San Fondation Peter Moores, il a enregistré wondrous sight… Oh land of dreams”, dans lequel les vieux amis Nadir et Francisco, San Diego et à l’Opéra de Tosca, Cavalleria rusticana, Pagliacci et apostrophant l’île de Madagascar Zurga, ténor et baryton, évoquent la Vancouver. Il a également donné des La bohème. lorsqu’il en atteint le rivage. Ce passage beauté de Leila, la jeune fille qu’ils ont concerts avec les orchestres de résume la conception du “Grand opéra” aimée tous les deux. Le thème principal Philadelphie, Cleveland, Montréal, David Parry étudia avec Sergiu du compositeur, une œuvre expansive de la pièce est devenu extrêmement Ottawa et dans le cadre du festival de Celibidache et commença sa carrière qui a toujours connu la faveur des célèbre. Ce duo très apprécié représente Cincinnati. En Europe, il est comme assistant de Sir John Pritchard. ténors puisqu’elle leur permettait de le genre de musique qui a fait gagner à fréquemment invité par le Bayerische Il fit ses débuts avec l’English Music déployer tout leur talent. l’opéra une popularité légitime auprès Staatsoper de Munich, et a chanté dans Theatre et devint plus tard chef L’adorable chanson du rêve de Des d’un public qui habituellement n’assiste les opéras de Vienne, Bonn, Cologne, appointé du Städtische Bühnen Grieux “Enchanting hour… When I pas au spectacle. Nice, Zurich, Paris, Oslo, Bruxelles et Dortmund et d’Opera North. Directeur close my eyes”, tirée du Manon de Barcelone. musical d’Opera 80 de 1983 à 1987, il Massenet, requérant un style plus © 1998 Alan Blyth Dennis O’Neill poursuit également est depuis 1992 le directeur musical délicat, a aussi fait l’objet des faveurs des Traduction: Karin Py une importante carrière au concert, et a fondateur du festival d’opéra ténors, car le Chevalier décrit à Manon chanté sous la direction de nombreux contemporain Almeida Opera. avec la plus grande sensualité la Né au Pays de Galles de parents grands chefs internationaux, notamment Il poursuit une carrière très active à demeure idéale dans laquelle il espère irlandais et gallois, Dennis O’Neill est Muti, Mehta, Davis, Sinopoli, Gatti, l’opéra et dans les salles de concert. Son s’installer en sa compagnie, ignorant l’un des grands ténors de notre temps, Rattle, Mackerras et Slatkin. Son répertoire va de Mozart et d el’opéra qu’elle vient de s’engager dans une une et un spécialiste des œuvres de Verdi. importante discographie comporte des italien du début du XIXe siècle à toute autre voie, celle du luxe de la vie Il jouit d’une longue association avec albums en soliste, le Requiem de Verdi Janácˇek, Britten et à la musique de courtisane. Ceci confère à son rêve le théâtre de Covent Garden de Londres avec Colin Davis, La fanciulla del West contemporaine. En Angleterre, il a fait d’amour véritable, si finement façonné où il a chanté récemment les rôles de avec Slatkin, des vidéos de Der des apparitions régulières à l’English par Massenet, une dimension des plus Gustavo (Un ballo in maschera), Foresto Rosenkavalier avec Solti, Die Fledermaus National Opera et lors de concerts avec poignantes. (Attila), Don Carlos et Radames avec Kiri te Kanawa sous la direction de le Philharmonia. En 1996, il a fait ses Un raffinement français similaire (Aida). Placido Domingo, Macbeth avec débuts au Festival de Glyndebourne imprègne un autre duo remarquable En Amérique du Nord, il s’est Sinopoli, et Mefistofele pour l’Opéra de avec Così fan tutte. “And from the holy shrine”, tiré de produit au Metropolitan Opera de New San Francisco. Pour Chandos et la Il se rend fréquemment en Espagne

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où il s’est produit avec la plupart des Hors d’Europe, David Parry s’est troupes d’opéra et des orchestres produit au Festival international de Grandi arie operistiche symphoniques. Il a donné la première Hong Kong, a dirigé l’UNAM espagnole de Peter Grimes à Madrid et, Symphony Orchestra à Mexico, a fait en 1996, a dirigé la première mise en une tournée consacrée à Carmen au L’aria del tenore è un pezzo di bravura tali arie come qualcosa di più di un scène espagnole de The Rake’s Progress. Il Japon, et, en 1996, a dirigé une nouvelle per una voce unica: come mezzo di pezzo d’effetto, spesso quale a aussi inauguré deux nouvelles salles de mise en scène de Katya Kabanova au esprimere sentimenti d’amore e/o componente del personaggio ed in certi concert avec une interprétation de la Festival de Nouvelle-Zélande. d’angoscia si è imposta quale precisa casi dello sviluppo della trama – come è Neuvième symphonie de Beethoven et Il a réalisé un grand nombre caratteristica dell’opera lirica sino dalla graficamente illustrato da questo recital un nouvel opéra avec Carmen. Il s’est d’enregistrements pour le label Opera sua concezione (basti pensare alle discografico. La popolarità dei tenori également produit en Italie où il a dirigé Rara, parmi lesquels Rosmonda magnifiche arie di Orfeo nell’Orfeo di non è un fenomeno solo di questo Ricciardo et Zoraide au Festival d’opéra d’Inghilterra de Donizetti, qui a Monteverdi). Per un certo tempo fu il secolo. Mario, ed altri tenori del suo de Pesaro (consacré à Rossini), mais il remporté le prix Cecilia en Belgique, et castrato ad usurpare il seggio del tenore stampo, vennero enormemente s’est aussi rendu en France, en c’est chez Chandos qu’il a dirigé son come primo uomo, specialmente nelle festeggiati nella metà dell’Ottocento e il Allemagne, en Belgique, en Hollande, et enregistrement primé de Tosca, deux opere di Handel; ma non appena tenore napoletano, Fernando De Lucia, en Suède où il a dirigé une mise en disques d’aries operatiques, La bohème, quell’essere, artificialmente creato, fra i primi ad incidere dischi, godette di scène très applaudie du Midsummer Cavalleria rusticana, Pagliacci et Don divenne un anacronismo, fu una popolarità di massa non inferiore a Night’s Dream de Britten. Pasquale. nuovamente il tenore l’uomo principale quella di Pavarotti. e l’amante, come nelle opere di Mozart. Nel primo pezzo scelto da Dennis Giunto il tempo di Rossini, nel primo O’Neill, Edgardo sfoga il suo dolore Ottocento, divenne essenziale per il nella sua aria all’inizio dell’ultimo atto tenore avere un’aria, preferibilmente a di Lucia di Lammermoor, “My contrassegnare il suo ingresso e, se ancestors lie here buried… A lonely possibile, un’altra almeno nel corso grave will shelter me”. A questo punto dell’opera. Donizetti, ancora egli non sa del decesso di Lucia, e maggiormente Verdi, più che Puccini e i riflette sulla sua decisione di morire suoi coevi, deliberatamente concepirono perche la ritiene infedele. Il brano è

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finemente sviluppato, armonioso nel abbastanza attraente. Con Luisa Miller you know in my heart and my spirit’, di un’aria ardua, alta di tessitura, con il fraseggio, e tipico del Donizetti maturo. lo stile verdiano si era fatto più raffinato Riccardo implora Amelia di rivelare il disteso motivo iniziale che si sviluppa in Alla sua conclusione il corteo funebre si e più espansivo: l’aria di Rodolfo, “Oft suo amore. Dopo che lei ha accon- frasi ampiamente arcuate richiedenti il avvicina, e viene comunicata ad in the quiet evening hour”, nella quale sentito, Verdi aumenta ulteriormente la massimo controllo. Edgardo la morte di Lucia. In una delle si angoscia dell’apparente tradimento temperatura erotica (Verdi aveva bene Non appena Alvaro ha cantato questo più strazianti melodie donizettiane, dell’amata Luisa è giustamente famosa, appreso certe cose dalla sua lunga pezzo egli incontra il suo acerrimo sostenuta dagli strumenti a fiato, entro e fuori del contesto, per la sua associazione con Giuseppina Strepponi) nemico, Don Carlo, con il quale stringe Edgardo esprime il suo dolore, “Rest in linea melodica attentamente cesellata e con la cabaletta che segue al duetto e amicizia, ma ambedue sono arruolati peace for I shall follow”. Trafiggendosi per la sua orchestrazione: pezzo ideale che va confrontata con gli schemi nell’esercito sotto false spoglie. Alvaro con un pugnale, spira ai piedi del feretro per un tenore lirico di timbro melato e tradizionali, migliorati dal compositore ha accidentalmente ucciso il padre di di Lucia, con frasi anelanti di profonda con un buon comando di contrasti per raggiungere il suo scopo. L’intensità Carlo in una lite a proposito di eloquenza che efficacemente descrivono dinamici. della passione espressa forse non viene Leonora, sorella di Carlo, la quale ama i sentimenti del morente. Tutta questa Giunto al Ballo in maschera, la superata in nessun altro momento Alvaro quanto egli l’ama. Carlo ha scena appartiene interamente al tenore e caratterizzazione e lo stile musicale di dell’intera produzione verdiana e la fine giurato vendetta, oltretutto perchè sotto questo aspetto è unica in Verdi avevano raggiunto una maggiore del duetto quasi invariabilmente suscita Alvaro è discendente degli Inca. Alvaro Donizetti. Facendo seguito alla lunga complessità e richiedevano maggiore una tempesta di applausi, indicativa viene ferito e mentre giace, scena della Follia del soprano, ristablisce impegno dagli interpreti, sopratutto dai dell’istintiva reazione emotiva che esso apparentemente in punto di morte, i l’equilibrio fra i due personaggi tenori: in nessun esempio ciò appare più produce sul pubblico. due cantano uno dei più famosi duetti principali. evidente che nell’incontro nell’Atto II di Al tempo in cui Verdi compose verdiani, “In death’s awful shadow” che I tre pezzi solistici che rappresentano Riccardo (o Re Gusstavo, nella versione La forza del destino lo stile da lui già molto tempo fa divenne immortale Verdi mostrano in modo avvicente la svedese originale) con la sua amante adottato per il tenore principale aveva nel disco di Caruso e Scotti, il quale crescente capacità del compositore di Amelia, moglie del suo migliore amico. assunto uno stile più eroico. Nel caso non mancava in nessuna casa di usare l’aria del tenore quale mezzo di Questo duetto per soprano/tenore è a delle reminiscenze di Alvaro dell’amata eduardiani amanti dell’opera. In frasi espressione. La canzone d’amore di tutt’oggi il più esteso che sia mai stato Leonora (che ritiene morta) all’inizio d’ineffabile eloquenza i due si giurano Oronte, “My heart is full of happiness”, scritto da qualsiasi compositore, Verdi dell’Atto III, “I am condemned to live eterna amicizia, e Alvaro (che sopravvive da I Lombardi è – entro i suoi limiti – incluso. In frasi appassionate che in torment… You who are among dopo un’operazione) affida a Carlo i una dichiarazione d’amoroso ardore cominciano “Take my hand… Don’t th’angelic host” questo prende la forma suoi effetti privati, rivelandogli con ciù

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la sua vera identità – con disastrose universale. Caruso, che creò il ruolo nel dieci anni di opera verista. La brevità d’integrare quest’ ultime nella struttura conseguenze. 1898 a Milano, incise il brano e lo dell’aria, se messa a confronto delle arie e nel tessuto dell’opera stessa. Turandot Ognuno dei successori di Verdi trovò lanciù sulla via dell’immortalità: brano degli eroi verdiani, è evidente, ma fu l’ultima sua opera ed era destinato a il proprio modo di sfruttare le che figura nel programma di qualsiasi Puccini si rimette poi in pari con il suo non finirla. Nell’aria del suo eroe Calaf, possibilità della voce tenorile. Le loro recital di ogni tenore che si rispetti. Un tenore con altri tre pezzi e alcuni duetti: nell’Atto I, “Don’t cry for me Liù!”, il norme e le loro armonie tesero ad essere anno prima lo stesso tenore – e si in effetti, la parte di Des Grieux è una principe ignoto cerca di consolare la più complesse di quelle verdiane e le ricordi che ciò avvenne prima che delle più impegnative per un tenore schiava Liù, che è innamorata di lui, arie più intimamente impiantate nelle Caruso avesse raggiunto fama dell’intero repertorio. Tanto importante esortandola a prendersi cura del padre dirette strutture delle opere scritte dai internazionale – aveva assicurato il è il ruolo del tenore che l’opera avrebbe cieco, Timur. La sua spassionata compositori veristi. Inevitabilmente lo successo dell’Arlesiana di Cilea con il potuto benissimo essere intitolata “Des espressione di affetto è in netto stile vocale era più sciolto, più effusivo. Lamento di Federico, eroe dell’opera. Grieux”: il personaggio ha una parte contrasto con gli appassionati Si ricordi che a questo punto l’opera era “Surely the shepherd’s story is a sad così capillare nelle sua struttura. In sentimenti espressi da Calaf verso la diventata la musica popolare del one” è un’altra aria che va dritta al cuore quest’aria egli è felice e spensierato al gelida eroina del titolo (il cui enigma momento, o almeno l’equivalente dei dell’ascoltatore, che divenne un massimo (se si eccettua l’iniziale egli ha risolto) nella sua famosa romanza “musicals” dei nostri giorni, con le arie immediato successo di pubblico e che è romanza, “Tra voi belle”, prima d’amore, “None may sleep!”. Ambedue i principali divenute di dominio facilmente sopravvissuta all’oblio in cui d’infatuarsi della volubile Manon). E’ brani sono tipici dell’abilità di Puccini pubblico: in quest’arte non c’era dunque è caduta l’opera stesa. E’ un pezzo di tipica della scrittura pucciniana la sua di costruire un apice travolgente in un nulla di classista. Perciò, in parentesi, si squisita fattura che rappresenta l’essenza capacità di caratterizzare il breve spazio di tempo e di musica. può dire che questo recital che ci stessa del sentimento verista per temperamento e gli umori dei suoi L’opera francese nell’Ottocento diede fornisce questi pezzi in inglese, tipico di eccellenza. tenori nella maniera più succinta. Nulla alla voce tenorile altrettante possibilità tutta la serie di Opera in English, è un Il maggior successo di Puccini, potrebbe sorpassare questa particolare di sfoggiare la propria arte. Lo stile lodevole tentativo di reinventare l’opera Manon Lescaut, precede ambedue le aria nell’ardore totalmente sfrenato. potrà essere di quel tanto più reticente quale arte popolare. opere già citate. Con l’aria di Des Verso la metà degli anni ’20 Puccini e/o più raffinato ma le emozioni La breve dichiarazione d’amore di Grieux, incantato alla prima vista di aveva fatto ulteriori passi avanti, non espresse sono altrettanto profondamente Loris all’eroina del titolo, Fedora, di Manon, “Never has any woman”, solo nello stile delle sue composizioni sentite. Nel primo dei due esempi qui Giordano, “A love so powerful’ (Amor ti Puccini, in un certo senso, stabilisce il ma anche nella sua abilità sia di fissare presentati queste emozioni non sono vieta) è la quintessenza della seduzione corso che verrà seguito nei successivi un personaggio attraverso le sue arie sia d’amore ma di meraviglia. Nell’esotico

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dramma di Meyerbeer, L’africaine, contraddistingue il noto duetto “And I suoi ingaggi nel Nord America Chandos/Peter Moores Foundation ha Vasco de Gama apre l’Atto IV con l’aria, from the holy shrine” dall’Atto I de hanno incluso la Metropolitan Opera, inciso Tosca, Cavalleria rusticana, “What a wondrous sight… Oh land of Les pêcheurs de perles, di Bizet, in cui i la Chicago Lyric Opera, San Francisco, Pagliacci e La bohème. dreams”, apostrofando l’isola del vecchi amici Nadir e Zurga, tenore e San Diego, la Vancouver Opera e Madagascar su cui è approdato. E’ baritono, ricordano la bellezza di Leila, concerti con le orchestre sinfoniche di David Parry ha studiato con Sergiu questo il riassunto della concezione di la fanciulla che amavano. Il tema Philadelphia, Cleveland, Montreal, Celibidache ed ha iniziato la sua carriera Meyerbeer della “Grand opéra”, un principale di questo pezzo ha raggiunto Ottawa, e per il Festival di Cincinnati. come assistente di Sir John Pritchard. pezzo espansivo che ha goduto una fama straordinaria. Questo duetto, E’ di frequente ospite della Bayerische Ha fatto il suo debutto con l’English popolarità presso tutti i tenori sin da molto amato, rappresenta il genere di Staatsoper di Monaco di Baviera. Music Theatre ed è poi diventato quando fu scritto, grazie alle occasioni musica che giustificatamente ha Altrove in Europa ha cantato nei teatri direttore stabile della Städtische Bühnen di sfoggio tenorile che offre. guadagnato all’opera stessa una lirici di Vienna, Bonn, Colonia, Nizza, Dortmund e di Opera North. Dal 1983 L’incantevole Sogno di Des Grieux, popolarità che va al di la’ del pubblico Zurigo, Parigi, Oslo, Brusselle e al 1987 è stato direttore artistico di “Enchanting hour… When I close my che normalmente frequenta i teatri lirici. Barcellona. Opera 80 e dal 1992 Direttore Musicale eyes”, dalla Manon di Massenet, Nella sua altrettanto intensa attività fondatore del festival di opera richiedente uno stile più delicato, è stato © 1998 Alan Blyth concertistica Dennis O’Neill ha cantato contemporanea dell’Almeida Opera. anch’esso favorito dai tenori: in Traduzione: Marcella Barzetti con i più illustri direttori d’orchestra Svolge un’intensa attività sia nel quest’aria lo Chevalier descrive a del mondo, fra quali Muti, Mehta, teatro lirico sia in campo sinfonico. Il Manon, con le espressioni più sensuali, Nato nel Galles da genitori irlansesi e Davis, Sinopoli, Gatti, Rattle, suo repertorio da va Mozart e l’opera il cottage ideale nel quale spera di gallesi Dennis O’Neill è fra i principali Mackerras e Slatkin. La sua vasta italiana del Ottocento a Janácˇek e accasarsi con lei – ignaro del fatto che tenori di rinomanza mondiale ed uno discografia comprende albums di pezzi Britten e la musica contemporanea. In Manon si è già impegnata a condurre specialista nel repertorio verdiano. E’ da solistici, il Requiem di Verdi con Sir Inghilterra ha diretto frequentemente una vita assai differente: la vita di lusso anni felicemente impegnato in una Colin Davis, La fanciulla del West con alla English National Opera ed in di una cortigiana. Ciò rende il suo lunga collaborazione con la Royal Opera Slatkin, videoregistrazioni di Der concerti sinfonici con la Philharmonia. sogno del vero amore, così delicata- per la quale ha recentemente cantato i Rosenkavalier con Solti, Die Fledermaus Nel 1996 ha debuttato al festival di mente creato da Massenet, più dolente ruoli di Gustavo (Un ballo in maschera), con Kiri te Kanawa, diretta da Glyndebourne con Così fan tutte. che mai. Foresto (Attila), Don Carlos e Radames Domingo, Macbeth con Sinopoli e Dirige spesso in Spagna nella maggior Una raffinatezza altrettanto francese (Aida). Mefistofele per San Francisco. Per la parte dei teatri lirici e con orchestra

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sinfoniche. Ha diretto la prima spagnola di con l’orchestra sinfonica UNAM a Città Dennis O’Neill as Canio in the 1996 Peter Grimes a Madrid e nel 1996 il primo del Messico e in una serie di Welsh National Opera production of allestimento spagnolo della Carriera di un rappresentazioni della Carmen in Leoncavallo’s Pagliacci libertino, ha inaugurato due nuove sale di Giappone. Nel 1996 ha diretto Katya Photo © Donald Cooper concerti con la Nona sinfonia di Beethoven Kabanova in un nuovo allestimento per ed un nuovo teatro lirico con la Carmen. il festival della Nuova Zelanda. Altre tournées l’hanno portato in Italia, Ha iniciso numerosi dischi per Opera dove ha diretto Ricciardo e Zoraide al Rara, fra questi Rosmonda d’Inghilterra Festival Rossini di Pesaro, in Francia, di Donizetti, che ha vinto il Priz Cecilia Germania, Belgio, Olanda, e Svezia dove in Belgio; per Chandos ha diretto ha diretto con grande successo Il sogno di l’acclamato disco della Tosca, due una notte di mezza estate di Britten. dische di grandi arie operistiche, Fuori d’Europa David Parry si è esibito La bohème, Cavalleria rusticana, al festival internazionale di Hong Kong, Pagliacci et Don Pasquale.

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from Turandot [see p. 12] Then she would take my hand in hers, from The Force of Destiny [see p.10] will shine in endless glory. give me a look so loving. Do not forget your servant Calaf Alvaro 1 Ah! She has betrayed me. whom fate has made so wretched None may sleep! None may sleep! 4 I am condemned to live in torment; who is an aimless exile, In your cold room, oh Princess, And as I stood enraptured, if only death would release me. despised by earth and heaven. you too are awake and gazing gazing upon her beauty, Seville! Leonora! And yet to erase that misery up at the starlight that throbs with love my love would say so tenderly, Undying mem’ries! in death’s unending night. and yearning, ‘I love you, and you alone, for ever.’ That night on which I lost all I live for! My dearest love, remember me, with love and yearning! Ah, then it seemed that heav’n above I shall be wretched now and ever. I’m my own Leonora, remember me. But locked within me lies my name, opened in all its glory. fated. Look down and pity my plight. its mystery none shall ever know! She said so tenderly, My father wished to free his native My dearest love, do not forget. No, no, but when the morning ‘Tis you I love, and you alone.’ country, F. Piave, translation © 1998 David Parry shines in Heaven Ah! She has betrayed me. from foreign domination, I shall announce it with a kiss! S. Cammarano, translation by Norman Tucker and when he wed the last surviving Inca from A Masked Ball [see p.9] Yes, with a kiss that makes you mine and Tom Hammond, reproduced by permission he was certain he would secure the throne; the silence will then be broken! of English National Opera Benevolent Fund a vain delusion. Gustavus (Riccardo) Dissolve, oh darkness! I was born in a prison, 6 Take my hand. Fade away, oh starlight! from The Lombards at the First Crusade and brought up in the desert; Amelia Let the night be ended, [see p. 9] I live because Oh heaven! that I may win her love! Oronte my royal birth remains a secret, Win her love! Win her love! Gustavus 3 My heart is full of happiness, but my poor parents, Adami and Simoni, translation by William Radice whose dreams were so glorious, Amelia. © CASA Ricordi-BMG Ricordi SpA my one desire to share it, to share this love so passionate woke to their execution. Amelia with her whose beauty inspired it. No power on earth can mend my Ah! from Luisa Miller [see p. 9] persecution. I hear the ethereal harmonies Gustavus Rodolfo 5 You who are among th’angelic host, echo our sighs here below. You are trembling. 2 Oft in the quiet evening hour, Ah! United we soar to paradise, shine in eternal glory, under the stars of heaven, where mortal man may never go, pure and forever beautiful, Amelia my love and I would wander, to where no man may go! freed from our mortal story. You must leave me… forgetting all save each other. Solera, translation © 1998 David Parry You who are among th’angelic host I am the victim of your passion.

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It’s my honour you are destroying. 7 Don’t you know in my heart and my spirit Gustavus the light of day, Soon the pain of shame and horror deep remorse comes to punish and chide Say you love me… and let your radiant love forever banish will consume me and I shall die. me, the light of day. Amelia yet there’s something far deeper inside me Gustavus Go, I beg you. Amelia the excitement and passion of love. Shall I leave you? I lay upon my bed of tears Don’t you know I am yours now and ever, No, no, never: no, I cannot, Gustavus and dreamt that I could conquer this tho’ my heart should stop beating and die! because I’m burning with an everlasting …only tell me, only tell me… but now it grows in power, Every night in a fever of longing passion. and fills my heart with pain. I would struggle to conquer my weakness, Amelia What stops me from revealing Amelia I would pray to my god and implore him Highness… I love you… this passion that torments me? Highness, have pity, for the mercy you’re begging of me! Gustavus If only death would come to take I implore, spare me. But I never for one single moment Love me Amelia. the pain of love away. from this passion could set myself free. Gustavus Amelia Ah yes, if only death would come, Oh, believe that I adore you: Amelia But my noble friend, to take the pain away. every word is pleading for you. Ah! Dearest Heaven, I beg for compassion, help me conquer my own heart. Gustavus Your fair name will be forever I am caught between death and dishonour; held in honour and in pride. Gustavus Amelia! You love me, Amelia? let the light of your mercy shine on me You love me, love me… You love me? Amelia who is straying and longs to be true. Ah, from henceforth, But Gustavus, I am married (to Riccardo) Amelia remorse and friendship shall be banished Yes. I love you. to your faithful friend and comrade… You must go, I’ll not hear you, as it ought, no, never. Gustavus be gone forever, Gustavus I am his, I am his who would shed blood No Amelia… any thought except for love. Amelia, love will shine. for you. The sweetest glowing fire of love Amelia Amelia is kindled here inside me: Gustavus But your noble mind Yes, to a man who thinks nothing to feel you close beside me of dying for you. I surrender life and kingdom, will protect me from my heart. life and kingdom, just to hear you… and hear the words you say! Gustavus Bright star in my dark universe, Gustavus Cruel woman, still reminding me, Amelia accept this the heart I offer, You love me! speaking words I would forget! Heaven help me! and let your radiant passsion ever banish 8 Ah! The sweetest glowing fire of love

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is kindled here inside me: The fire of anger has flickered and of one who died for you! all at once she lost her reason. to feel you close beside me vanished… Never return to flaunt your faithlessness. Now she lies, exhausted, dying, and hear the words you say! All I want is to perish upon my enemy’s You faithless girl, respect the one who calling out your name and sighing… Bright star in my dark universe sword. died for you! Edgardo and let your radiant passion Life is a burden past all endurance… Chorus Ah! Lucia! Dying! Ah! forever ban the light of day. The whole universe itself a desert 11 Such misfortune! A fate so cruel! Oh let your radiant passion for me without Lucia! Surely now her state is hopeless! Chorus forever banish the light of day. The candles are still burning up in the Dawn that glitters like a jewel Dawn that glitters like a jewel she will never see again. Amelia castle… she will never see again! Ah! The night was too short for your Now she lies exhausted, dying, I lay upon my bed Edgardo revels! calling out your name and sighing. and dreamt that I could conquer this, God in heaven! What has happened? Ungrateful woman! but now it grows in power, Ah! Say for whom are you weeping? Edgardo While desperation reduces me to and fills my heart with pain! Give me an answer, I implore! Dawn that glitters like a jewel, What stops me from revealing weeping, she will never see again, you laugh in exultation with your Chorus this passion that torments me? my poor Lucia? fortunate husband. For Lucia! If only death would come to take Chorus Joy fills your life completely Edgardo the pain of love away. Now she lies exhausted, dying for you! If only death would come, while I am dying! You say Lucia! Edgardo to take the pain away. 10 Chorus A lonely grave will shelter me, Ah! Somma, translation by Edmund Tracey, forgotten and neglected; Such misfortune… © 1997 Josef Weinberger Ltd, Chorus reprinted by permission of Josef Weinberger Ltd no one will shed a tear for me, Edgardo whose love has been rejected. Go on, tell me! Alas! That is the ringing of the death Ah! Even in death my wretched soul knell. from Lucia di Lammermoor [see p. 8] Chorus shall be oppressed anew. Yes, the wretched girl is dying. Edgardo Edgardo Forget, forget, you cruel girl, It echoes deep within me! Edgardo 9 My ancestors lie here buried: this place where I am buried: Now my fate has been decided! soon I shall join them, no, never flaunt your faithlessness here Ah! I, the last of a family with the man you married. Chorus Chorus which has been cursed by misfortune. Ah! At least respect the memory When they forced her to the altar Oh heaven!

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Edgardo let us soar above together Edgardo Don Carlo (to the surgeon) Once again I have to see her. and leave behind us mortal pain. Leave behind me, ah! This mortal pain… Is it dangerous? Oh! Though anger and resentment Chorus Raimondo and Chorus Surgeon have destroyed the faith we plighted, What an outburst! This is madness! Oh what pain! The bullet in his chest is what concerns though on earth we were divided, Ah! Restrain yourself, stay here! me. God will join us in heaven again. Edgardo Edgardo Yes, our love will last forever, Ah! Through anger… and resentment… Don Carlo I shall see her… I have to… God will join us once again. we were divided… my beloved, God… You must save him. will join us… in heaven… again. Raimondo I shall follow… Yes, our love will last forever, Alvaro (coming round ) Poor young man, where are you running? Raimondo God will join us once again. Who is there? Here on earth she is no more. You are desperate! Though on earth we were divided Surgeon Edgardo Raimondo and Chorus God will join us in heaven again. Your friend is with you. Lucia! Ah! What is this? Raimondo Alvaro Raimondo May God forgive you… such a sin. Edgardo You should have left me dying. Try to bear it! Heaven forgive you such a sin. I shall die now! Edgardo Chorus Don Carlo Raimondo and Chorus On earth she is no more? Oh, to kill yourself, how dreadful! We will care for you until you are Try to be calm… So she must be… God forgive you such a sin. better… And you shall be awarded the order of Raimondo Edgardo Heaven forgive you such a sin! Cammarano after Scott, Calatrava. In heaven. No, no, no… (He wounds himself.) translation © 1998 David Parry Edgardo Alvaro (startled ) Of Calatrava?… No, never… Lucia is no more! Raimondo from The Force of Destiny [see p. 10] What have you done? Chorus Don Carlo (to the soldiers) Don Carlo (aside) Try to bear it! Try to bear it! Edgardo 13 Careful… Lay him here… You make my What! Why should the mention of that I shall follow… my beloved… Edgardo bed up for him. name disturb him? 12 Rest in peace, for I shall follow, Raimondo Surgeon Alvaro where our love will last forever; How you suffer! Be quiet… My friend…

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Surgeon Don Carlo There! Always there before my eyes! from The African Maid [see p. 12] No more talking… I’ll do it, I swear. I cannot forget, I cannot! Vasco I am so unhappy! Alas! Alvaro Alvaro 17 What a wondrous sight… Garden of L. Marenco after A. Daudet, I have to speak… My death can be peaceful… translation © 1998 David Parry the soul… Don Carlo (to the surgeon) Dear friend, I embrace you… Temple of delight… At last!… Oh land of dreams, a gift from the ocean, Pray leave us for a moment. Don Carlo (embracing him with great from Manon [see p. 12] sky so blue, air so pure, every sense is emotion) (The surgeon goes to the back of the stage. Des Grieux aflame: Have faith in the mercy of heav’n. Alvaro motions to Don Carlo to come 16 Enchanting hour when we sit in the You are my prize, oh world of promise; closer.) Alvaro and Don Carlo twilight for my country’s sake, for my country I Farewell, my dear friend. just the two of us, quite alone. stake my claim. Alvaro F. Piave, translation © 1998 David Parry Ah! Manon. As I walked I lost myself in 14 This beautiful place shall be ours now: In death’s awful shadow daydreams. you must swear to honour this paradise shall be regained! from The Maid of Arles [see p. 11] When I close my eyes I see Oh what wealth of charms!… my final instruction. down there a beautiful haven, Federico Oh what wonders!… At last!… Don Carlo (moved ) just a simple cottage, 15 Surely the shepherd’s story is a sad one… Oh virgin world, you are my prize! I promise, I promise. small and white, among the trees. You shall be mine, land of dreams! The poor young man was trying to tell Beneath the shady branches, Alvaro Scribe and Fétis, me all about it, but fell asleep. clear streams gently rippling by, Feel here where my heart beats… translation © 1998 David Parry How his thoughtless oblivion fills me leaves are mirrored in the waters Don Carlos (doing so, he finds a key) with envy! birds are singing in the sky! I too would be happy to sleep like that, There’s a key!… It will be like heaven. Oh no! from Manon Lescaut [see p. 11] to sleep for a while without regret. Heaven would be sad and empty. Alvaro (indicating the suitcase) My one desire is peace of mind; There is no heaven for me, Des Grieux It opens that casket, 18 my only hope is to forget. not without my dear Manon. Never has any woman which I am entrusting But that will never happen: There we shall live contented. moved me so deeply! to you and your honour… her image will haunt me forever, forever Ah, please say yes, oh Manon! I say that I love her Inside lies a secret enchanting. Meilhac and Gille, translation by Edmund Tracey, and suddenly my life is changed I take to the grave. My tortured spirit can find no rest… © 1977 Josef Weinberger Ltd, reprinted by completely. Destroy what you find there… Why must I suffer so much pain? permission of Josef Weinberger Ltd ‘Manon Lescaut’s my name, sir!’

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Words so simple and plain yet so from Fedora [see p. 11] Zurga Zurga enchanting Count Loris Ipanov Her veil is lightly parted. There is a new fire that burns me. that charm my jaded spirit, Oh. It’s a dream! What beauty! 20 A love so pow’rful will not be shunned. Nadir and overwhelm me like a lover’s whisper. Your hand which gently makes to repel The crowd are still bowing low. A fire that drove us apart. May that echo so sweet me, Nadir and Zurga Zurga resound once more, resound for ever! this hand is yearning to rest in mine; various, translation © 1998 David Parry See, how lovely, she is a goddess, A fire that drove us apart. and in your eyes I read: I love you, fair as pearl, a heavenly beauty. although you whisper: I love you not. See, how lovely, she is a goddess Nadir Colautti after Sardou, And a love that has the power from Turandot [see p. 12] here among us below. translation © 1998 David Parry Her veil is lightly parted to turn friendship to hate. Calaf while the crowd are bowing low. Zurga 19 Don’t cry for me, Liù! from The Pearl Fishers [see p. 12] No, let no one come between us. If once, long, long ago my smile Nadir entranced you, Nadir But all too soon she leaves us, Nadir then in repayment, gentle as you are, Liù, 21 And from the holy shrine through the crowd prays devoutly. No one! arrayed in gold and flowers please hear me: your master may be after Zurga Zurga and Nadir a woman appears, tomorrow And her veil has closed We swear to remain as friends! I seem to see her still. all alone in the wide world… and hides her face completely. See, how lovely, she is a goddess Please do not leave him, Zurga who today led you to me, Nadir stay with him come what may! A woman appears, and from now I’ll keep my promise, Though I gaze and gaze it is in vain. Make the road for him sweeter by your I seem to see her still. close as brothers we shall always be! kindness! How lovely, she is a goddess, Nadir Zurga Listen… Listen, by the love in your she today has led you to me! The crowd who kneel in prayer, She has gone! heart, your resolute devotion Now we can tread one single path, all are gazing in wonder, Do not fail me, I ask this one thing! Nadir never again to part till death! whispering under their breath Do not fail me, She has gone! Cormon and Carré, translation by Nell and John who now can smile no more! ‘Oh look, the shining goddess! But all at once in my heart Moody. Reproduced by permission of United Adami and Simoni, translation by William Radice, There she stands in the shadows an insane desire inflames me. Music Publishers Ltd © CASA Ricordi-BMG Ricordi SpA Lifting both hands to bless.’

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Great Operatic Arias on Chandos

Dennis O’Neill as Turiddu in the 1996 Welsh National Opera production CHAN 3006 of Mascagni’s Cavalleria rusticana

Photo © Clive Barda/P.A.L.

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Great Operatic Arias on Chandos You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. E-mail: [email protected] Internet: www.chandos-records.com

Chandos 20-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 20-bit recording. 20-bit has a dynamic range that is up to 24dB greater and up to 16 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Producer Brian Couzens Engineer Ralph Couzens Assistant engineer Richard Smoker Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Concert Halls, London; 5–7 January 1998 Front cover Illustration of Dennis O’Neill by D.M. Cassidy Back cover Photo of Dennis O’Neill by Clive Barda Design D.M. Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Lyttle Copyright Ricordi (words only – tracks 1 & 19), MCPS (track 2), Josef Weinberger Ltd (tracks 6–8 & 16), all other tracks public domain CHAN 3010 P 1998 Chandos Records Ltd C 1998 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

58 59 CHAN 3013 Inlay.qxd 15/10/07 11:24 am Page 1 RA PRTCARIAS - O’Neill/Philharmonia Orchestra/Parry OPERATIC GREAT ARIAS - O’Neill/Philharmonia Orchestra/Parry OPERATIC GREAT bit CHANDOS DIGITAL CHAN 3013 20

from Puccini’s Turandot from Massenet’s Manon 1 Calaf’s Aria – ‘None may sleep!’ 3:44 16 Des Grieux’s Dream Song – ‘When I close my (Nessun dorma) eyes…’ 3:43 (En fermant les yeux) from Verdi’s Luisa Miller* 2 Rodolfo’s Aria – ‘Oft in the quiet evening hour…’ 4:19 from Meyerbeer’s The African Maid (Quando le sere al placido) Vasco’s Recitative and Aria 17 ‘What a wondrous sight…’ – from Verdi’s The Lombards at the First Crusade* ‘Oh land of dreams…’ 3:32 3 Oronte’s Cavatina – ‘My heart is full of happiness’ 2:20 (O paradis sorti de l’onde) (La mia letizia infondere) from Puccini’s Manon Lescaut from Verdi’s The Force of Destiny* 18 4 - 5 Alvaro’s Recitative and Romance Des Grieux’s Aria – ‘Never has any woman moved ‘I am condemned to live in torment…’ 7:06 me so deeply…’ 3:01 (La vita è inferno) (Donna non vidi mai) from Verdi’s A Masked Ball* from Puccini’s Turandot 6 - 8 Gustavus’s and Amelia’s Duet 19 Calaf’s Aria – ‘Don’t cry for me Liù!’ 3:00 ‘Take my hand…’ 10:09 (Non piangere, Liù) (Teco io sto) with Susan Bullock soprano from Giordano’s Fedora* 20 Count Loris Ipanov’s Aria – ‘A love so pow’rful…’ 1:52 from Donizetti’s Lucia di Lammermoor* (Amor ti vieta) 9 - 12 Aria Finale ‘My ancestors lie here buried…’ 17:09 from Bizet’s The Pearl Fishers (Fra poco a me ricovero) 21 Nadir’s and Zurga’s Duet – ‘And from the holy with Clive Bayley bass . Geoffrey Mitchell Choir (men’s voices) shrine…’ 6:00 from Verdi’s The Force of Destiny (Au fond du temple saint) 13 - 14 Don Carlo’s and Alvaro’s Duet with Anthony Michaels-Moore baritone ‘Careful… Lay him here…’ 6:23 TT 79:05 (Piano… Qui posi…) *premiere recording in English with Anthony Michaels-Moore baritone . Clive Bayley bass from Cilea’s The Maid of Arles* Dennis O’Neill tenor 15 Federico’s Lament – ‘Surely the shepherd’s story is HN3013 CHAN HN3013 CHAN CHANDOS CHANDOS a sad one…’ 5:24 Philharmonia Orchestra (È la solita storia del pastore) David Parry DDD

CHANDOS RECORDS LTD. p 1998 Chandos Records Ltd. c 1998 Chandos Records Ltd. Colchester . Essex . England Printed in the EU