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Home , Adolphe Nourrit, Carlo Guasco, Enrique Mazzola, Gaetano Donizetti, Gaetano Fraschini, Il corsaro

Michael Fabiano Verdi · Donizetti

LONDON PHILHARMONIC · (1813-1901): (1849) Giuseppe Verdi: (1844) 1 Oh! fede negar potessi … Quando le sere al placido 5. 25 8 Odi il voto … Sprezzo la vita * 6. 48

Giuseppe Verdi: (1851) Giuseppe Verdi: (1844) 2 La donna è mobile 2. 01 9 Notte, perpetua notte … Non maledirmi 5. 21

Gaetano Donizetti (1797-1848): (1838/1848) Giuseppe Verdi: (1839) 3 Veleno è l’aura ch’io respiro ... Fu macchiato l’onor mio … 5. 56 10 Ciel, che feci! ... Ciel pietoso 3. 30 Sfolgorò divino raggio Giuseppe Verdi: (1848) Giuseppe Verdi: (1859) 11 Ah sì, ben dite … Tutto parea sorridere … 7. 21 4 Forse la soglia attinse … Ma se m’è forza perderti 6. 27 Pronti siate a seguitarmi *

Gaetano Donizetti: (1835) Total playing time: 57. 03 5 “Tomba degli avi miei … Fra poco a me ricovero“ 7. 04 * with Voices (chorus master: Terry Edwards) Giuseppe Verdi: (1862) 6 Qual sangue sparsi … S’affronti la morte * 4. 21 ,

Gaetano Donizetti: (1843) London Philharmonic Orchestra 7 Alma soave e cara 1. 49 Conducted by Enrique Mazzola From my first days of study in , I’ve always had a deep intrigue with the era of late leading into Verdi’s works. The late bel canto era of opera (1835 and beyond) is a reckoning in time of a paradigm shift in operatic composition. The beautiful line of Bellini or crispness of Rossini gave way to the fire-laden later works of Donizetti. And it’s in this fire that Verdi’s works become even more relevant. A keen listening to Ernani and Poliuto next to each other reveals a symbiosis of sonority between the two composers. The works that Donizetti and Verdi wrote between 1835 and 1875 are of great interest to me because they reveal a drastic development in musical architecture and drama, bringing instrumentation, harmony, and layers of text and music much closer to each other than they were in decades before. My album is but a taste of this big bel canto era.

4 5 Verdi: Luisa Miller (1849) Verdi: Rigoletto (1851) with librettist . The incisive declamation and stamina. Poliuto, "Oh! fede negar potessi … Quando le sere al "La donna è mobile" bold imagination and creative strength in a Christian martyr, first expresses jealous placido" (1837), Poliuto (1838) suspicions of his wife Paolina, only to turn his It is no surprise the supple, suave writing and Maria di Rohan anticipate Verdi, not attention to a heroic rescue of a Christian Giuseppe Verdi’s tenor roles are largely for the Duke (Rigoletto) was introduced to be matched again in sheer artistic comrade when learning of his arrest. Nourrit invested in revealing the humanity of either by , who earned much authority until the full flowering of Verdi's had self-exiled to for this premiere, a helpless slave to fate or its master. Rodolfo fame in Donizetti. Everything in this opera middle period. Donizetti's Poliuto lies at driven from by Gilbert-Louis Duprez's (Luisa Miller) lies midway in that continuum: demonstrates the vividness with which Verdi a crossroads in tenor history. Although triumph in 1837 with the first known high a victim of his fate, he ultimately takes could summon up a distinctive character, the tenor in Acts I and III parallels many C from the chest. Nourrit's bigger sound charge, with tragic consequences for all. His from the dour sarcastic Sparafucile to the qualities familiar in more lyrically-written hardly needed such enhancement; yet he «Quando le sere al placido» in Act II marks tormented title role to the idealism in Gilda Donizetti roles, Act II reflects the ambitions now felt he too needed a top from the the first moment we hear the full musical to the insouciance in the callous Duke. both Donizetti and tenor , chest. He could not bring the chest voice depths of a figure no longer willing to accept Leaving aside Piave’s fine , the music the intended protagonist, brought to up to a C; but the resulting high A was likely his fate. As Rodolfo expresses pain at Luisa’s tells the story. The heard here became this piece. There, both a ferocious Grand the most powerful sound yet heard in the presumed betrayal, the music oscillates an instant hit, never going out of fashion, Finale and the staggering two-part scena opera world. Hence this selection's emphatic between helplessness and nostalgia on the assuming iconic status as capturing the heard here anticipate Verdi. Although this setting for "immenso", climaxing on a high one hand and heroic dignity and outrage on essence of . two-part selection follows a traditional A. Sadly, Naples' censors banned this piece the other. At this critical moment we first hear structural format musically, it does not for its religious overtones, and Nourrit's middle-period Verdi, and also in the last act, Donizetti: Poliuto (1838) follow a traditional format vocally: The tenor disappointment was so bitter it drove him to whose ending reflects a common pattern, the "Veleno e l'aura ... Fu macchiato l’onor mio … usually opens a scena with reflective inward a tragic end right out of opera, a death leap tenor’s suicide. Settimio Malvezzi, Rodolfo’s Sfolgorò divino raggio" sentiments, stressing gentler vocal qualities, from the top story of his hotel. creator, mirrored the contrasts in Rodolfo’s more hard-driving qualities reserved for a writing, performing high-lying elegant parts Today's renewed understanding of Gaetano flashier second half. Here, both parts are like Rodrigo (Rossini’s ) alongside more Donizetti's importance to Verdi centers equally hard-driving, an atypical test of both strenuous roles like Pollione (Bellini’s ). around Donizetti's mature collaborations

6 7 Verdi: Un ballo in maschera (1859) Donizetti: Lucia di Lammermoor (1835) Verdi: La Forza del Destino (1862) nor made them so integral a part of his "Forse la soglia attinse" ... Ma se m’è forza "Tombe degli avi miei … Fra poco a me "Qual sangue sparsi … S’affronti la morte" regular repertoire. Not only did he create the perderti" ricovero" original Alvaro, he regularly performed in By contrast, here is the latest excerpt on this Rossini's Guillaume Tell, Meyerbeer's Robert Of those active during the bulk of This selection is the earliest on this album album, a rare selection from the original le diable, and Le prophète, Verdi's career, none delighted Verdi more than and holds special interest, both for the opera La Forza del Destino, premiered in Saint Donizetti's Poliuto and and Verdi's . Fraschini's incisive tones itself, Donizetti’s first true masterpiece, and Petersburg in 1862. Its later 1869 version is Les vêpres siciliennes, even going outside the could encompass both Verdi's most energetic for its being written for a great tenor still the one usually heard. While the tenor role Italian/French repertoire to perform Florestan writing and the gentler style of earlier years. finding himself, Gilbert-Louis Duprez. In 1835, of Alvaro is hardly inconsiderable in its later (Beethoven's Fidelio)! Tamberlik also kept his Here, Verdi gave Fraschini the finest gift of Duprez was not yet the fearsome lion with version, it was originally a longer and more extraordinary top to the very end despite the his career, the last and most wide-ranging his high C from the chest heard at his Paris varied part, tailored to tenor Enrico Tamberlik, arduousness of the most challenging tenor challenge of all. For many, Verdi's inspiration Opera debut in 1837. But the deeply expressive who first negotiated the contract for the repertoire. It is fitting that the latest piece throughout this work marks his greatest nature of Edgardo’s music here shows that work on behalf of the Imperial Theatres. It here is a part of the Tamberlik story, a career achievement to date. We hear the vividness Duprez was already a highly expressive is ironic that an opera more known for its that sums up a whole era in Italian tenor of Verdi's mature gifts in the tenor's "Forse artist capable of uncommon depths. Here, started out as a vehicle for a star writing. Once again, “Quel sangue sparsi”, la soglia attinse" from the final act. In great in the wake of Lucia’s apparent betrayal of tenor. Indeed, the original Alvaro assumes a with its death wish in the midst of battle, anguish, a King's agitated gives their love, Edgardo anticipates his eventual slightly more important role than Leonora. He shows a hero longing for his end. way to somber and deliberate phrases as suicide. Like Roberto Devereux (1837), Poliuto is even at the center of the action at the end, he contemplates the finality of Amelia's (1838) and Maria di Rohan, Lucia is also a a virtual denunciation of all creation and a Donizetti: Maria di Rohan (1843) departure from his court. The range of Donizetti/Cammarano collaboration, the first shocking suicide off a cliff. Tamberlik was the "Alma soave e cara" Fraschini's expressive powers is further shown success of that partnership, signaling many most versatile and the most resilient tenore in the hero's climactic resolve to see Amelia a masterpiece to come. As with those three, di forza of his day. No one before or since has The final Donizetti/Cammarano collaboration, one last time. we can hear anticipations of Verdi in Lucia’s mastered so many of the most treacherous Maria di Rohan is viewed by William Ashbrook dramaturgy and its musical/theatrical pulse. Italian and French tenor roles (sung in Italian), and some others as perhaps Donizetti’s

8 9 finest work. In Act II ofMaria di Rohan, the previously gained fame: "singing gracefully, lyric beauty in Chalais’s “Alma soave e cara”, sweetly" (Il Bazar, Sep. 7th, 1844). Some written for the sweet-voiced tenor Carlo critics may debate whether these qualities Guasco, conveys the character’s gentle are apt to the role. It is notable that when nature in distinctly Donizettian terms, as he the opera was again mounted at the end still copes with the shock of learning that his of the year, a heroic accomplished Arnold in beloved Maria is now married. The melancholy Rossini's Guillaume Tell was instead chosen, cast of this aria gives us a premonition of tenor Nicola Ivanoff. So Verdi composed Chalais’s tragic end, again a suicide at the a demanding new aria heard here, "Odi il opera’s curtain. voto ... Sprezzo la vita", which has only been attempted by a very few. From this aria, Verdi: Ernani (1844) expressing Ernani's determination to rescue "Odi il voto ... Sprezzo la vita" his beloved Elvira from King Charles, we can guess the heroic dimension that Ivanoff Ernani was the greatest success for Verdi to brought to Ernani. that point, but its title role had a difficult birth with its creator, . Compared Verdi: I Due Foscari (1844) to previous roles like the gentle Chalais in "Notte, perpetua note … Non maledirmi" Donizetti's Maria di Rohan (1843), Guasco found Verdi's Gothic outlaw uncongenial Here, we find Jacopo Foscari I( Due Foscari) (despite ending in a suicide like Chalais), and haunted by terrifying visions in the darkness he tried bowing out. By Opening Night, he of his prison. As with Rodolfo (Luisa Miller, was badly hoarse, and although he rallied 1849), Jacopo bridges the span from helpless on subsequent nights, the praise accorded victim to heroic defiance. Its creator, Giacomo him dwelt only on qualities for which he had Roppa, mirrored that contrast: elegant, Enrique Mazzola © Eric Garault 10 11 1 gracious parts like Lorenzo (Bellini’s I Capuleti hear something of the agitated accents of Giuseppe Verdi, Luisa Miller e i Montecchi) and Gennaro (Donizetti’s Devereux's regal heroine in Verdi's "Oh fede negar potessi… Quando le sere al placido" ) alongside more intense roles (1842) and (1847). like Pollione (Bellini’s Norma) and the title role Rodolfo Rodolfo in Meyerbeer’s . Verdi: Il Corsaro (1848) Oh! fede negar potessi agl’occhi miei! Oh! I wish I could deny my own eyes! "Ah sì, ben dite … Tutto parea sorridere … Se cielo e terra, se mortali ed angeli If heaven and earth, if mortals and angels Verdi: Oberto (1839) Pronti siate a seguitarmi" Attestarmi volesser ch’ella non è rea, were to swear to me that she is not guilty, "Ciel, che feci! … Ciel pietoso" Mentite! io risponder dovrei, tutti mentite. all lies, I should answer! This is her hand! Finally, we return to Verdi’s favorite tenor, Son cifre sue! Tanta perfidia! Un’alma This is her hand! So much treachery! The earliest Verdi selection on this album, Gaetano Fraschini. If Un Ballo in Maschera Sì nera! sì mendace! A black soul! A liar! Riccardo's "Ciel, che feci" from Verdi's first was the last and finest gift Fraschini ever Ben la conobbe il padre! Well my father knew her! opera, Oberto, already shows Verdi's assured received from Verdi, then Il Corsaro marks the Ma dunque i giuri, le speranze, la gioia, But all the promises, the hopes, the joy, mastery in a distinctly lyrical style. Riccardo first time that Verdi presented Fraschini with a Le lagrime, l’affanno? the tears, the anguish? expresses remorse for having killed his former role fully worthy of that tenor’s great gifts. In Tutto è menzogna, tradimento, inganno! Everything is a lie, betrayal, deception! beloved's father in a duel. , a this supercharged selection, we hear Verdi at true , created this part, a role his most vigorous, especially in the , Quando le sere al placido When in the evenings in the calm that bears testimony to Verdi's close study investing the character with a warmth and Chiaror d’un ciel stellato pale light of a starry sky of Donizetti. In fact, rehearsals for Oberto's an urgency that only Verdi could evoke. In its Meco figgea nell’etere she gazed with me into the heavens 1839 premiere at had to be worked combination of musical and theatrical drive, lo sguardo innamorato, with a look of love, around concurrent rehearsals for Donizetti's this sequence is a fitting conclusion to our E questa mano stringermi and I felt this hand pressed Roberto Devereux (which had only received its journey through Verdi’s tenor writing and its Dalla sua man sentia ... by her hand… world premiere two years before). So Verdi's antecedents. Ah! mi tradia! Ah! She betrayed me! impressions of Roberto Devereux were likely Allor, ch’io muto, estatico I was mute, ecstatic, intense and lingered for some while after. Geoffrey Riggs Da’ labbri suoi pendea. hanging from her lips. Later, in works following Oberto, we can Ed ella in suon angelico, when she said in angelic tones

12 13 London Philharmonic Orchestra 14 © Patrick Harrison15 “amo te sol” dicea, ‘I love only you’, Felice appieno fully contented Tal che sembrò l’empireo it seemed like the world Chi su quel seno who has not tasted Apirisi all’alma mia! opened to my soul! Non liba amore. love in their arms! Ah! mi tradia! Ah! She betrayed me! La donna è mobile, ecc. How fickle women are, etc.

2 3 Giuseppe Verdi, Rigoletto Gaetano Donizetti, Poliuto "La donna è mobile" "Veleno è l’aura ch’io respiro ... Fu macchiato l’onor mio … Sfolgorò divino raggio"

Duca Duke Poliuto Poliuto La donna è mobile How fickle women are, Veleno è l’aura ch’io respiro! The air I breathe is poison! Qual piuma al vento, fleeting like plumes in the wind, Indegna! Unworthy! Muta d’accento simples in speech, Ella invitava il traditor ... She invited that traitor… E di pensiero. and simples in mind. Non mente, no, Callistene ... Don’t try to deceive me, Callistene… Sempre un amabile Always the loveable, Io stesso io vidi! I saw it myself! Leggiadro viso, sweet, laughing faces, E un brando, And a sword, In pianto, in riso, but laughing or crying, e un pugnal non avea! a dagger I did not have! È menzognero. the face is false for sure. Ma vivo ancor! But I still live! La donna è mobile, ecc. How fickle women are, etc. Ma trema, trema, o coppia rea! But tremble, tremble, you guilty pair! Fu machiato l’onor mio My honour has been sullied, È sempre misero If you rely on them Necessaria è la vendetta and revenge is now needed, Chi a lei s’affida, you will regret it, Spargerà di sangue un rivo, my punishing hand Chi le confida and if you trust them La mia destra punitrice, will cause a river of blood, Mal cauto il core! you are undone! Sul codardo semivivo on this half-alive coward Pur mai non sentesi Yet none can consider himself ferir vo’la traditrice I will wound her

16 17 4 E strapparle il cor d’al petto and tear her heart from her chest, Giuseppe Verdi, Un ballo in maschera Il perverso infido cor that wicked, perverse heart "Forse la soglia attinse … Ma se m’è forza perderti" Ah,l’amai d’immenso affetto! ah, I loved her so immensely! Ora immenso è il mio furor Now my fury is immense. Riccardo Riccardo Forse la soglia attinse, Perhaps she has reached home Eterno Dio, che sento! Eternal Father, what do I hear! E posa alfin. - L’onore and she is safe at last. Honour In gran periglio In great danger Ed il dover nei nostri petti han rotto and duty have broken the abyss stanno i fratelli are my brethren L’abisso. - Ah! sì, Renato between us. Ah! Renato Ed io! ed io! and so am I! So am I! Rivedrà l’Inghilterra... e la sua sposa will finally return to England…and his wife Cessa, fatal consiglio dell’ira! Cease, you fatal thoughts of wrenge! Lo seguirà. Senza un addio, l’immenso will follow him. No farewell, the vastness of Il ciel mi schiude Heaven has opened Oceàn ne sepàri… e taccia il core. the ocean between us…let the heart be la via che tragge a sé! its gate for me. Esito ancor? ma, oh ciel, non lo degg’io? silent. M’infiamma una virtude A virtue enflames me Ah, l’ho segnato il sacrifizio mio! Do I still hesitate? But, my God, must I not? che pria in me non era! that I did not feel before! Ah, I have signed my sacrifice! Sei tu, sei tu! Gran Dio! It is you, it is you! Great God! Ma se m’è forza perderti But if I can find the strength to lose you Sfolgorò divino raggio; Divine rage flares up; Per sempre, o luce mia, forever, my bright star, Da’ miei lumi è tolto il velo ... The veil is removed from my eyes… A te verrà il mio palpito my love will reach you Voce santa come il cielo A holy, heavenly voice Sotto qual ciel tu sia, wherever you are, di perdono a me parlò! spoke to me of forgiveness! Chiusa la tua memoria once the memory I have of you Obliato è già l’oltraggio; Forgotten already is the outrage; Nell’intimo del cor. will be imprinted in my heart. più vendetta il cor non chiede... The heart now demands no more revenge Dio quest’anima mi diede, God gave this soul to me, Ed or qual reo presagio And now what an obscure omen pura a Dio la renderò, ecc. and I will dedicate it to Him, etc. Lo spirito m’assale, assails my heart, Che il rivederti annunzia the chance to see you again

18 19 5 Quasi un desio fatale… announces a fatal desire Gaetano Donizetti, Lucia di Lammermoor Come se fosse l’ultima as if it were the last hour "Tomba degli avi miei … Fra poco a me ricovero" Ora del nostro amor? Of our love? Edgardo Edgardo Ah! dessa è là… potrei vederla... ancora, Ah! She is there…I could meet her…once Tombe degli avi miei, l’ultimo avanzo Tombs of my fathers, Riparlarle potrei… again... D’una stirpe infelice, last son of an unhappy race, Ma no: chè tutto or mi strappa da lei. I could talk to her again.. Deh! raccogliete voi. Cessò dell’ira Receive me, I implore you. My anger’s No: now everything keeps me away from Il breve foco...sul nemico acciaro brief fire is quenched...I will fall on her. Abbandonar mi vo’. Per me la vita my foe’s sword. For me, life È orrendo peso!... L’universo intero is a horrible burden! The whole universe Che nel ballo alcuno At the ball someone È un deserto per me senza Lucia! is a desert for me without Lucia! Alla mia vita attenterà, sta detto. will try to kill me, I was told. Di faci tuttavia Yet the castle Ma se m’arresto: allora, But if I don’t go, then Splende il castello...Ah! scarsa gleams with torches...Ah, the night Ch’io pavento diran. Nol vo’: nessuno they will think I am a coward. Not this: Fu la notte al tripudio! Ingrata donna! was too short for the revels! Heartless jade! Pur sospettarlo de’. Tu va: t’appresta, No one must even suspect it. Go: get ready, Mentr’io mi struggo in disperato pianto, While I pine away in hopeless tears, E ratto, per gioir meco la festa. immediately, to attend the ball with me. Tu ridi, esulti accanto you laugh and gloat Sì, rivederti, Amelia, Yes, to see you again, Amelia. Al felice consorte! by your happy consort’s side! E nella tua beltà, And faced with your beauty, Tu delle gioie in seno, io della morte! You amid joys, I near to death! Anco una volta l’anima once again my heart D’amor mi brillerà! will burn with love. Fra poco a me ricovero Soon this neglected tomb Darà negletto avello; will give me refuge. Una pietosa lagrima A compassionate tear Non scenderà su quello!.. will not fall upon it...ah! Ah! Fin degli estinti, ahi, misero! Alas, for wretched me not even Manca il conforto a me. the solace of the dead.

20 21 Tu pur, tu pur dimentica You too, forget Come Caino son maledetto in terra. me! Ah! … Quel marmo dispregiato! that despised marble tombstone! Miserere di me, pietà, Signor, Like Cain I am accursed on the earth. Mai non passarvi, o barbara, Never visit it, oh cruel one, Concedi il tuo perdon a tanto errore. Have mercy on me, pity, Lord, Del tuo consorte a lato, Ah! by your husband’s side. grant your pardon for such a misdeed. Rispetta almen le ceneri Ah, respect at least the ashes Di chi moria per te. of him who dies for you. Granatieri Grenadiers Mai non passarvi, Never visit it, All’armi! Ecco i Tedeschi. To arms! Here come the Germans. Tu lo dimentica, forget it exists, Arde la regal tenda, venite, capitan. The royal tent is afire, come, Captain. Rispetta almeno chi muore per te. respect at least the one who died for you. Vittoria, o morte. Victory, or death. Oh, barbara, io moro per te. Oh, barbarian, I die for you. Alvaro Alvaro 6 S’affronti la morte, e sia finita Meet death, and let there be an end Giuseppe Verdi, La Forza del Destino Di questa mia vita la barbara sorte. to the cruel fate of this life of mine. "Qual sangue sparsi … S’affronti la morte" Si voli a morte. Let death come quickly. Ah, se il destino rio mi vieta morir Ah, if evil destiny forbids me to die, Alvaro Alvaro A Dio consacrato io giuro morire. I swear to die devoted to God. Qual sangue sparsi! Orrore! What blood have I shed! Horror! Sì! Andiam, andiam! Yes! Let us go, let us go! Il cor mi stringe ferrea man! An iron hand grips my heart! Io l’uccisi, e l’amava! I have killed, where I loved! 7 Qual t’attende fiero colpo, Leonora! What cruel blow awaits you, Leonora! Gaetano Donizetti, Maria di Rohan Un mar di sangue A sea of blood "Alma soave e cara" Or ne divide per sempre! now divides us for ever! Ei m’era fratel! ah! l’uccisi! He was my brother! Ah! I killed him! Chalais Chalais Ohimè! l’angiol di Dio con ignea spada Alas! The angel of God with sword of fire Alma soave e cara Thou spirit, sweet and dear, M’insegue, m’incalza, atterra! Ah!... Pursues me, presses upon me, humiliates Che al tuo Fattore ascendi, who art to heaven ascending,

22 23 La dipartita amara this last and bitter parting teco saprem pugnar. we will strike. Per poco ancor sospendi. suspend for a few moments; Fra breve in cor lo sento, I feel that shortly too Ernani Ernani Io pur sarò sotterra; I shall lie in my grave. Verrete voi? Giuratelo! So you are with me? Swear it! Amor ci univa in terra, Love on earth united us, Ci unisca amore in Ciel! love will join us in heaven! Coro Chorus Giuriam sul nostro acciar! We swear it on our swords! 8 Giuseppe Verdi, Ernani Ernani Ernani "Odi il voto … Sprezzo la vita" Giuriam! Ah! Sprezzo la vita: Let us swear! Ah! I despise life: né più m’alletta It has no charm left for me Ernani Ernani che per la speme della vendetta. except the hope of vengeance. Odi il voto, o grande Iddio, Hear the oath, o great God, È la vendetta gioia del forte Vengeance is the joy of the strong man, che al tuo soglio un cor ti porta; which this hear raises to your throne; Che non rifiuta per lei morir. who does not shrink from dying for it. deh, ti piaccia il brando mio Come, by your grace, my sword di quel sangue dissetar. shall be slaked on that blood. Coro Chorus Nell’angoscia del mio core In my heartfelt anguish È la vendetta gioia del forte Vengeance is the joy of the strong: questo è sol che mi conforta: this is my only comfort: per la vendetta bello è il morir. Nothing is more beautiful than to die for del trafitto genitore That the spirit of my slain father vengeance. l’ombra inulta alfin placar. I am at last going to placate. Ernani & Coro Ernani & Chorus Coro Chorus Giuriam ecc. We swear etc. Vieni, con te dividere Come, we want to share vogliamo gioie e pene; joy and sorrow with you imponi, e come folgori impose, and like thunder

24 25 9 Giuseppe Verdi, I due Foscari Me pure sol per frode I was only punished for fraud. "Notte, perpetua notte… Non maledirmi" vedi quaggiù dannato, Down here you find a damned, e il padre sventurato and my unfortunate father Jacopo Jacopo difendermi non può... cannot defend me…. Notte!... perpetua notte che qui regni! Night!... Perpetual night that reigns here! Cessa... la vista orribile!... Stop… you horrible sight Siccome agli occhi il giorno, As in the eyes the day, Più sostener non so. I can’t hold it any longer. potessi almen celare al pensier mio I could at least conceal myself from my il fine disperato che m’aspetta!... thoughts 10 Tôrmi potessi alla costor vendetta!... About the desperate end that awaits me!... Giuseppe Verdi, Oberto Ma oh ciel!... che mai vegg’io!... Rescue me from his vengeance!... "Ciel, che feci! ... Ciel pietoso" Sorgon di terra mille e mille spettri!... But heavens!... this I’ve never seen!... A sé mi chiaman essi!... Thousands of ghosts ascend from the Riccardo Riccardo Uno s’avanza!... ha gigantesche forme!... earth!... Ciel, che feci!... di quel sangue… Oh God, what have I done! Il reciso suo teschio They call me! Ho macchiato il brando mio!... My sword is stained with his blood!... ferocemente colla manca porta!... One of them advances, a giant!... Dove ascondere poss’io Where can I hide my misdeed; A me lo addita... e colla destra mano He fiercely bangs his skull Il delitto; il mio rossor? My mortal sin? mi getta in volto il sangue che ne cola!... against the left door!... Ah sì fugga!… I must run away from here!... Ah lo ravviso!... è desso... è Carmagnola! He points at me… and with his right hand, Oh Dio… Chi piange? ... Oh God…who is weeping?... he throws blood in my face! M’ingannai… sussurra il vento. I misunderstood…it is the wind blowing. Ah, now I recognize him, it’s Carmagnola! Ah no!... l’ultimo lamento Ah no!... it is the last moan È del misero che muor. of the miserable dying man. Non maledirmi, o prode, Do not curse me, brave men, se son al Doge figlio; if I am the Doge’s son; Ciel pietoso, ciel clemente, Piteous God, merciful God, de’ dieci fu il Consiglio it was the Council of Ten Se pregarti ancor mi lice, if you still allow me to beg you, che a morte ti dannò! that damned you to death! Deh! Perdona a un infelice, Forgive a miserable man!

26 27 Tu mi salva per pietà! Save my soul, for pity’s sake! Pronti siate a seguitarmi... Are you ready to follow me… Oh rimorso! Del morente Oh regret! The ghost of this dying man Gianni, a me tu appresti l’anni... Gianni, help me prepare… L’ombra ognor m’inseguirà. Will haunt me forever. Risalpiam!... Let us sail out!... Trascorsa un’ora, Within an hour, 11 Tuoni il bronzo... we will fire the cannons Giuseppe Verdi, Il corsaro In questa sera Io comando alla bandiera. this evening I will command the flag. "Ah sì, ben dite … Tutto parea sorridere … Pronti siate a seguitarmi" Coro Chorus Corrado Corrado Dici il ver? Tu stesso?... Really? You yourself? Ah sì, ben dite... guerra... Ah yes, war you say… Perenne, atroce, inesorabii guerra Perennial, atrocious, inexorable war Corrado Corrado Contro gli uomini tutti; against all men; Sì... Yes… Io per essi fui reo... tutti gli abborro! They found me guilty … I detest them all! Sì: dei Corsari il fulmine Yes: of the Corsairs, I myself will be the one Temuto da costoro ed esecrato I was feared by them, and exorcised, Vibrar disegno io stesso, who schemes the fatal blow, Infelice son io, ma vendicato! unhappy I am, but avenged! Dal braccio nostro oppresso from our oppressed arm Il Musulman cadrà. the muslim will fall. Tutto parea sorridere Everything smiled at me Al viver mio primiero: in my previous life: Corrado & Coro Corrado & Chorus L’aura, la luce, l’etere The air, the light, the ether All’armi intrepidi With fearless weapons, E l’universo intero; and the entire universe; Cadiam’ sull’empia Luna; let’s bring that impious empire down; Ma un fato inesorabile But an inexorable fate Qual possa in noi s’aduna We will show that wicked bunch Ogni mio ben rapì. robbed me of everything. Il perfido apprenderà! the power of our united forces! Più non vedrò risorgere Now I will not see Dell’innocenza il dì. those days of innocence return.

28 29 Acknowledgments

PRODUCTION TEAM Executive producer Renaud Loranger | A&R Manager Kate Rockett Recording producer Anna Barry | Sound engineer Jean-Marie Geijsen What we stand for: Recording engineer Andreas Wolf | Recording assistant Louisa Clogston Language coach Maria Cleva

Liner notes Geoffrey Riggs The Power of Classical Music Cover photography Glen Wexler PENTATONE believes in the power of classical music and is invested in the Portrait Michael Fabiano next to personal statement Jiyang Chen philosophy behind it: we are convinced that refined music is one of the most Lyrics translation Lorenzo Bauco & Kasper van Kooten important wellsprings of culture and essential to human development. Design Zigmunds Lapsa | Product Management Kasper van Kooten True Artistic Expression This album was recorded at the church of Saint Jude-on-the-Hill, London, August-September 2018. We hold the acoustic tastes and musical preferences of our artists in high regard, and these play a central role from the start to the end of every recording project. Copyright Credits: This ranges from repertoire selection and recording technology to choosing cover All material published by , art and other visual assets for the booklet. Critical editions for Poliuto (William Ashbrook & ), La Forza del Destino (Philipp Gosset & William Holmes), Maria di Rohan (Luca Zoppelli), Ernani (Claudio Gallico) and Sound Excellence Il corsaro (Elizabeth Hudson) PENTATONE stands for premium quality. The musical interpretations delivered by our artists reach new standards in our recordings. Recorded with the most PENTATONE TEAM powerful and nuanced audio technologies, they are presented to you in the most Vice President A&R Renaud Loranger | Director Simon M. Eder luxurious, elegant products. A&R Manager Kate Rockett Head of Marketing, PR & Sales Silvia Pietrosanti Sit back and enjoy