Andrew kennedy by Gluck, Mozart and Berlioz 11. Se’all’ impero (Tito, La Clemenza di Tito) W. A. Mozart [5.11] 12. Ô blonde Cérès, (Iopas, Les Troyens) H. Berlioz [5.15]

1. Calchas, d’un trait mortel percé (Achille, Iphigénie en Aulide) C. W. Gluck [1.40] 13. Ah! je vais l’aimer (Bénédict, Béatrice et Bénédict) H. Berlioz [2.49] 2. () Misero! E che faro! 14. Chant du Bonheur (Recit) No, si atroce costanza (Admeto, ) C. W. Gluck [5.16] (Lélio ou Le retour à la vie, Op. 14b, No. 4) H. Berlioz [4.41] 3. J’ai perdu mon Euridice (Orphée, Orpheé ed Euridice) C. W. Gluck [4.09] 15. Air de Faust (Faust, Le Damnation de Faust) H. Berlioz [5.43] 4. Divinité des grandes âmes (Pylade, Iphigénie en Tauride) C. W. Gluck [2.18]

5. Overture (Die Entführung aus dem Serail) W. A. Mozart [4.38] Total Timings [62.00] 6. Hier soll ich dich den sehen (Belmonte, Die Entführung aus dem Serail) W. A. Mozart [2.24]

7. Ich baue ganz auf deinem stärke (Belmonte, Die Entführung aus dem Serail) W. A. Mozart [7.23]

8. Overture (La Clemenza di Tito) W. A. Mozart [4.56] 9. Del più sublime soglio (Tito, La Clemenza di Tito) W. A. Mozart [3.11] Andrew Kennedy Southbank Sinfonia 10. Ah, se fosse intorno al trono (Tito, La Clemenza di Tito) W. A. Mozart [2.25] Simon Over conductor

www.signumrecords.com Programme Note music he was then composing was reportedly hearts of an audience, without the risk of sinning language, which suits this style, is by no negative. According to Burney, Gluck nearly thirty against reason or common sense’. There should means suitable for me; no doubt it has many other ‘There are two supreme gods in the art of music: years later maintained ‘that he owed entirely be no da capo arias, no extended melismata, an merits, but I was born in Germany and do not consider Beethoven and Gluck. The former’s realm is that of to England the study of nature in his dramatic absence of personally interjected ‘caprice’, fewer that any study on my part either of Italian or infinite thought, the latter’s of infinite passion […] compositions’. Life as an ‘itinerant maestro di recitatives, and less word repetition. Syllabic setting, French entitles me to appreciate the delicate there is so much of each in the other that these two cappella’ – with prestigious productions in simple melody, the importance of the chorus (Greek shades which cause a preference for one language Jupiters form a single god, and all we can do is to Dresden, Vienna, Copenhagen, Vienna, Prague classical style), and ‘clarity before difficulty’ was rather than another, and I think that a foreigner lose ourselves in admiration and respect’ (Berlioz, (where in 1750 he married the wealthy Maria Anna placed at a premium. Similarly the importance of ought to refrain from judging between them […] 1856). Gluck was born in Bavaria. Of his childhood Bergin [Pergin], nearly twenty years younger), and the overture as a dramatic preparation distinct from the language which suits me best is the one which in Bohemia he wrote: ‘My father was a head Naples – led finally to his appointment in 1755 curtain-raiser. ‘My purpose was to restrict music to enables the poet to furnish me with the most forester [to the Lobkowitz family, of future as director and of Vienna’s francophile its true office, that of ministering to the expression varied means of expressing the passions’ Beethoven association] and he brought me up Burgtheater. During the 1770s his association with of the poetry and to the situation of the plot, (1 February 1773). to follow in his footsteps. At that time music the Paris stage enjoyed the patronage of Marie without interrupting that action and smothering was all the rage. Unfortunately, inflamed with a Antoinette, a former pupil. it by superfluous ornamentation […] animating ‘He innovated in almost every field,’ extolled passion for this art, I soon made astounding the figures without distorting their contours […] Berlioz, ‘though in so doing he was only following progress and was able to play several instruments. Inspiring the generations from Salieri, Mozart, I have striven to banish the abuses against which the irresistible impulse of his dramatic genius. I do My whole being became obsessed with music Cherubini and Méhul to Beethoven, Weber, Berlioz reason and good sense have so long protested not think that his primary goal was to expand the art and I left all thoughts of a forester’s life behind’. and Wagner, Gluck – rough-hewn realist, imaginative in vain [… and to replace] flowery descriptions, of music. But he was gifted with an extraordinary Following a period at the University of Prague, dreamer by turn, a man of ‘fire, but mad’ according superfluous similes, and cold, sententious morality feeling for expression and a rare understanding reading logic and mathematics, he settled in to Metastasio writing to Farinelli in 1751 – was by the language of the heart, by strong passions, of the human heart, and his sole aim was to give Italy (1737-44), studying ‘practical knowledge of all one of the grand reformers of history. interesting situations, and an ever-varying passions a true, profound and powerful language, the instruments’ with Sammartini in Milan, and Wagner edited his Iphigénie en Aulide (1847), spectacle […] simplicity, truth and nature are and he used all available musical resources for writing a series of Metastasian . Berlioz his Orfeo (1859), Richard Strauss his the great touchstones of the beautiful in all artistic this sole purpose. When rules did not stand in the Iphigénie en Tauride (1890). The 1769 preface creation’. Four years later we see him elaborating way of his inspiration he followed them, but he In 1745 he came to London, as house composer to to Alceste, dedicated to the Duke of Tuscany, set his ideas in the Mercure de France: ‘Imitation discarded them when they became an obstacle. the King’s Theatre, Haymarket. In London he met out his new age philosophy, influenced somewhat of nature is the acknowledged aim which all Only his harmonic language remained restricted; David Garrick, one of whose protégés, the by Francesco Algarotti’s Essay on Opera (1735), ought to seek […] I do not employ those shakes, he only knew a limited number of chords, which , was Gluck’s original Orfeo. He which proposed that drama should ‘delight passages and cadences which Italians use so he would often use in the same way. On the other also encountered Handel, whose opinion of the the eyes and ears, to rouse up and to affect the lavishly [in and opera buffa]. Their hand he introduced many new rhythms, which

- 4 - - 5 - Mozart subsequently adopted. Several of these ‘modal’/‘speaking’ voices and extended top regis- the castrato part of Orfeo (Guadagni) re-allocated Paris Opéra in 1821. The following year he copied have found their way into modern compositions, ters, probably falsetto-generated, customarily took to haute-contre (Legros), was produced at the out a number of pages in full score (together with and musicians of our time have not been able to the male lead in French operas of the baroque/ Académie-Royale de Musique, 2 August 1774. The passages from Iphigénie en Aulide). avoid them. They are still subject to the tyranny early classical period. In ‘Calchas, d’un trait mortel three-act story, from Greek mythology, relates how that this dark and powerful genius exercises over percé’ (Act III), a gallant aria, with horns, trumpets Orfeo the poet-musician braves the Furies to bring ‘Berlioz,’ the young George Bernard Shaw wrote, all forms of expressive music. He was the first and drums imparting vibrant imagery, Achilles back his wife Euridice from the Underworld. In ‘could never quite forgive [Mozart] for possessing to make this art a genuine poetic language’ (Le sings of his determination to save Iphigénie. saving her, part of the contract is that he will all the great qualities of his idol Gluck, and many Correspondant, 22 October 1830). not look at her until she is back on earth. But, others of which Gluck was destitute, besides Alceste (1767/76) was staged at the Burgtheater, succumbing to her sadness that he apparently no surpassing him in technical skill’ (The Dramatic Iphigénie en Aulide (1774), to a three-act libretto Vienna, 26 December 1767, with a French revision longer loves her, he does. She dies. He sings of his Review, 6 June 1885). Eventually he came around, by Leblanc du Roullet after Racine’s Alexandrine- following in Paris, 23 April 1776. Both versions set grief in ‘Che farò senza Euridice?’/‘J’ai perdu mon admiring especially Idomeneo and Don Giovanni, verse tragedy Iphigénie (Versailles, 1674), was three-act libretti (by Ranieri de Calzabigi and du Eurydice’ (Act III) – wondrously beautiful music though not Die Entführung aus dem Serail. Gluck’s first work for the Paris stage, produced at Roullet respectively) based on Euripides’s tragedy that has never lost its power to grip the heart. Mozart’s operas – spanning nearly a quarter of the Opéra, 19 April 1774. ‘I do not know whether Alcestis (Dionysia Festival, 438 BC), treated also by a century from Apollo et Hyacinthus in 1767 to this is song, but perhaps it is much more than Lully and Handel. ‘I have lived with the Muses/And The four-act tragedy Iphigénie en Tauride (1779), Die Zauberflöte in 1791 – cast tenor singers in that. I forget the opera and find myself in a on lofty heights:/Many doctrines have I learned;/But culmination of Gluck’s ‘reform’ style, was given different ways, dependent on linguistic context. Greek tragedy’ (Friedrich Grimm). The story tells of Fate is above us all’. The rôle of Admeto/Admetus, in Paris at the Académie-Royale de Musique, 18 The German settings (: set numbers, Iphigénie, daughter of Agamemnon, King of Mycenae King of Thessaly – whose wife, Alceste, is willing May 1779, a German version being staged at the ensembles, spoken dialogue) identify the register and Argos, and Clitemnestre, who is about to marry to take his place before Death – was created in Burgtheater, 23 October 1781, marking the visit of with romantic leads; the Italian ones (seria/buffa) Achilles, the greatest, handsomest of the warrior- Vienna by Giuseppe Tibaldi, and in Paris by Legros. Grand Duke Paul of Russia (Catherine the Great’s with (usually) secondary or comic roles. ‘In an heroes in the Iliad. The goddess Diana demands son) to the Habsburg capital. Set in Tauris (modern opera,’ Mozart believed, ‘the poetry must be that Agamemnon must sacrifice Iphigénie in return The first of Gluck’s ‘reform’ operas, Orfeo ed Crimea), the libretto, by Nicolas-François Guillard, altogether the obedient daughter of the music. Why for fair winds on his fleet’s journey to Troy. Achilles Euridice (1762/74), ‘symbol of the modern music was based on Euripides. The part of Pylades, friend do Italian comic operas please everywhere – in is falsely accused of infidelity, Iphigénie resigns drama’ (Paul Henry Láng), received its premiere of Iphigénie’s brother Oreste, was created originally spite of the miserable libretti – even in Paris, where herself to her fate, Diana intervenes, withdrawing at the Burgtheater, 5 October 1762, marking by Legros. In Act 4 Thoas, king of the Scythians, I myself witnessed their success? […] because her demands and presiding over the union of the the name-day festivities of Francis I. Setting an orders the sacrifice of Iphigénie and Oreste who the music reigns supreme, and when one listens young lovers. Achilles’s rôle was created originally Italian libretto by Calzabigi, including dancing in the have just been re-united. Pylades and a band to it all else is forgotten […] an opera is sure of by Joseph Legros, the leading Parisian haute-contre action, the later French expansion, as Orphée et of Greeks enter. Thoas is cut down. Iphigénie en success when the plot is well worked out, the words or high tenor of the day. Haute-contres, with their Eurydice, to a libretto by Pierre-Louis Moline and with Tauride was the first Gluck opera Berlioz saw, at the written solely for the music and not shoved in here

- 6 - - 7 - and there to suit some miserable rhyme […] The rescue his sweetheart Konstanze (soprano) who’s period. ‘Del più sublime soglio’ (Act I), ‘Ah, se fosse in the work’s otherwise mixed fortunes. ‘Ô blonde best thing of all is when a good composer, who been sold by corsairs to Pasha Selim, Ottoman intorno al throno’ (Act I), and ‘Se’all impero’ (Act Cérès’ comes from the second scene of Act IV, sung understands the stage and is talented enough despot turned Western forgiver (spoken part). The II) are all arias associated with Titus, first created by Iopas, a Tyrian poet at the court of Dido, Queen to make sound suggestions, meets an able poet, ternary-plan C major Overture sets the stage, a by Antonio Baglioni – reputedly ‘a man of perfect of Carthage. that true phoenix; in that case, no fears need be brilliant panoply of energised/lyricised paragraphs, taste and great musical knowledge’ (Giulietta da entertained as to the applause even of the gender allusions, Vienna tutti and Constantinople Ponte), responsible for the original Don Ottavio in Béatrice et Bénédict (1860-62, two acts), based ignorant’ (letter to his father, 13 October 1781). janissary band. ‘Hier soll ich dich den sehen’, Don Giovanni. on Shakespeare’s Much Ado About Nothing, created originally by Valentin Adamberger, ‘the was the last of Berlioz’s operas, produced at the Produced at the Burgtheater, 16 July 1782, Die favourite singer of softer hearts’ and a notable ‘An opera of visionary beauty and splendour, Theater der Stadt, Baden-Baden, 9 August 1862. Entführung aus dem Serail (1781-82) sets a Gluckian, is Belmont’s opening aria (Act I) as he compelling in its epic sweep, fascinating in the ‘A caprice written with the point of a needle’, he three-act libretto by Johann Gottlieb Stephanie searches for his stolen love. ‘Ich baue ganz auf variety of its musical invention […] the called it. Bénédict’s ‘Ah, je vais l’aimer’ – music of the Younger, adapted from Christoph Friedrich deinem stärke’ comes from Act III as he’s about to tragic spirit and climate of the ancient world Mozartean nuance – comes from the penultimate Bretzner’s Belmont und Constanze, oder Die rescue her from Selim’s sequestered harem. [re-captured]’ (David Cairns). On finishing Les scene of Act I. Entführung aus dem Serail (Berlin 1781) – not Troyens (1856-58, rev 1859-60), by a long way that good a text, as Mozart readily admitted, but An opera seria in two acts and the first of the his most ambitious work, vast in conception Bound by a celebrated idée fixe, the Symphonie with enough of a fashionably oriental ingredient to Mozart canon to reach London (in 1806), La and cast, Berlioz believed that ‘if Gluck were to fantastique, ‘Episodes in the Life of an Artist’ ensure quick success. Admired by Gluck, the work Clemenza di Tito, written within a month, was return, he would say: “this is my son”’. He based the (1830), and its sequel, the ‘monodrame lyrique’ swept Europe, with productions in Prague, Warsaw, first performed at the National Theatre in Prague, libretto on the second and fourth books of Virgils’ Lélio, ‘The Return to Life’ (1831-32), grew out Bonn, Leipzig, Mannheim, Salzburg, Dresden, 6 September 1791, the day of the coronation of poem The Aeneid, relating the story of Aeneis, the of Berlioz’s passion for, respectively, the actress Munich, Hamburg, Berlin, Amsterdam and Leopold II, the Holy Roman Emperor, as King of legendary Trojan who journeyed to Italy to become Harriet Smithson (unbeknown to her) and the elsewhere. ‘Die Entführung aus dem Serail is full Bohemia. The libretto, by Caterino Mazzolà, an ancestor of the Romans. Planned, we read in his pianist Camille Moke (unrequited). Narrated by of beauties […] and surpassed the expectations adapted from Metastasio and set previously by Memoirs, as ‘a grand opera on the Shakespearean an actor who speaks his lines before a curtain of the public, and the author’s taste and new Caldara and Gluck, draws on incidents in the model’, the whole is divided into two parts – ‘The concealing the orchestra, Lélio was first performed ideas, which were enchanting, received the fullest life of the Flavian Emperor Titus, ‘the delight and Capture of Troy’ (Acts I-II) and ‘The Trojans at at the Paris Conservatoire, 9 December 1832. and most general applause’ (Cramer’s Magazin, darling of the human race’, told by Suetonius in the Carthage’ (Acts III-V). Part II, with various cuts, A hymn in praise of recovered happiness, with a December 1782). Pre-Revolution music-theatre eleventh chapter of his Lives of the Caesars. received its Paris premiere at the Théâtre-Lyrique prominent harp part, Chant de bonheur – Souvenirs at its most scintillating. The plot is simple. A Flanked by imperial flourishes, the Overture, a du Châtelet, 4 November 1863. The 1957 Covent (‘Ô mon bonheur ma vie’), the fourth movement Spanish nobleman, Belmonte (tenor), with the sonata essay in C, is scored for the standard Garden revival, under Kubelik and directed by Sir (of six), draws on material from the failed Prix de help of his servant Pedrillo (tenor), sets out to ‘Beethoven’ orchestra of the late Classical John Gielgud, marked a significant turning point Rome cantata, Le Mort d’Orphée (1827).

- 8 - - 9 - Berlioz read Gérard de Nerval’s translation of Texts Translations Goethe’s Faust Part I, illustrated by Delacroix, some time in 1828, subsequently introducing it Arias by Christoph Williband Gluck to Liszt. Divided into four parts and an epilogue, the ‘légende dramatique’ La damnation de Faust 1. Achille’s aria from Act III of Iphigénie en Aulide (1845-46), incorporating material composed in the late 1820s, was premiered at the Opéra-Comique, Calchas, d’un trait mortel percé, From the many I will mortally wound 6 December 1846 – to critical indifference, sera ma première victime; Calchas will be my first victim; public apathy, and financial embarrassment. ‘The l’autel préparé pour le crime, the altar, prepared for the crime, Damnation of Faust,’ says David Cairns (1969) is par ma main sera renversé. by my hand will be destroyed. the great text-book of romantic defeat, of romantic man “lost in a universe that cannot answer his Et si dans ce désordre extrême, And if in the extreme disorder, desperate longings, ‘a speck of flesh upon an votre père, offert à mes coups, your father himself, subjected to my blows, empty planet’ […]”, the episodes of which are frappé, tombe et périt lui-même, is beaten, falls and perishes, “not a string of lurid or touching vignettes but a de sa mort n’accusez que vous. for his death I blame only you. dramatisation of the soul’s condition” (quoting John Warrack). Expressively shaped and scored, 2. Admeto’s aria and recitative from Act III, Scene 1 the Air de Faust (‘Merci, doux crepuscule!’) opens of Alceste (Vienna version 1767) Part III. Night. Marguerite’s room. The girl in whom Faust will find his ideal of innocence and purity. Misero! E che farò?! Misery! And what to do?! E come, e con qual cor And how, and with what heart © Ates Orga, 2010 i figli abbraccerò; shall I embrace my children; che in tanto suo rigor as in its harshness, the barbarous mi serba in vita ancor pity of tyrannous heaven la barbara pietà del ciel tiranno! keeps me alive.

Misero! E con qual cor Misery! And with what heart io li consolerò? shall I comfort them? Che mai risponderò, How shall I answer them

- 10 - - 11 - quando, bagnati in lagrime, when, bathed in tears, scena d’orror. is at hand. la madre al genitor they remind their father Misero me! Che veggo! I am wretched! What do I see! rammenteranno? of their mother! Eccola! O vista! O crudeltà! Look! Oh sight! Oh cruelty! La madre - ah, che dolor! - They will ask me - ah, what grief - S’avanza, vacillante, languente, She approaches unsteadily, mi chiederanno. for their mother. e ha seco i figli… languishing and with her the children, e viene agli ultimi congedi, and there comes for the last parting No, sì atroce costanza No, I do not find in me la mia...ah non più mia! my... ah, no longer mine! a tanta pena non trovo in me: such dreadful constancy in such pain: Fedel consorte... Faithful consort... nel presagirla, io sento in foretelling it O Alceste! O figli! Oh Alcestis, oh children, inorridirmi il core… my heart shudders... O divisione! O morte! oh parting, oh death! In quale abisso Into what abyss have I fallen dal sommo de’ contenti, from the height of contentment, 3. Orphée’s aria from Act 3 of Orphée et Euridice caddi in un dì? in a single day? (Paris version 1774)

Voi m’invidiaste, o Numi, You envied, oh gods, J’ai perdu mon Euridice, I have lost my Eurydice, la mia felicità! my happiness! rien n’égale mon malheur. nothing equals my unhappiness. Troppo il mio stato era simile al vostro Too similar to yours was my state Sort cruel, quelle rigueur! Cruel fate, what severity! col possesso d’Alceste! when I had Alcestis! Rien n’égale mon malheur, Nothing equals my unhappiness, E intanto, o Dio! And yet, oh God, je succombe à ma douleur. I am overwhelmed by my grief. Come potro vederla how can I see her spirarmi in braccio, die in my arms, Euridice! Euridice! Eurydice! Eurydice! e de’ begli occhi suoi and from her eyes Réponds… quel supplice! Answer... what torment! adombrarsi la luce!... the light fade, Réponds-moi! Answer me! e in quel bel volto, and see in that fair face C’est ton époux fidèle. It is your faithful husband. e in quel bel sen and on that fair bosom, Entends ma voix qui t’appelle. Hear my voice calling you. freddo spiegarsi, e nero the cold, black spreading il livido di morte! of grey death! J’ai perdu mon Euridice, etc. I have lost my Eurydice, etc. Ah! già veloce fugge il momento, Ah, how quickly flies the moment e questa a me si appresta and this scene of horror

- 12 - - 13 - Euridice! Euridice! Eurydice! Eurydice! 7. Belmonte’s aria from Act 3, No. 17 of Die Mortel silence, vaine espérance! Deathly silence, vain hope! Entführung aus dem Serail Quelle souffrance! What agony! Quel tourment déchire mon coeur! What torment wrings my heart! Ich baue ganz auf deine Stärke, I build on your power, o Love; vertrau’, o Liebe, deiner Macht. grant me your strength. J’ai perdu mon Euridice, etc. I have lost my Eurydice, etc. Denn ach! Was wurden nicht für werke, For ah! What deeds cannot be achieved schon oft durch dich zu Stand’ gebracht? through your might? 4. Pylade’s aria from Act 3 of Iphigénie en Tauride Was aller Welt unmöglich scheint, What seems impossible to all the world wird durch die Liebe doch vereint. can be accomplished through love. Divinité des grandes âmes, Deity of great souls, amitié! friendship! 9. Tito’s aria from Act 1, scene 4 of La Clemenza Viens armer mon bras. Come strengthen my arm. di Tito Remplis mon coeur Fill my heart de tes célestes flammes. with your celestial flames. Del più sublime soglio Generosity is the sole fruit Je vais sauver Oreste, I will save Orestes l’unico frutto è questo: of the most splendid of thrones: ou courir au trépas. or seek death. tutto è tormento il resto, all the rest is torment, e tutto è servitù. all else is servitude. Arias and Overtures by Che avrei, se ancor perdessi What should I have, were I also 6. Belmonte’s aria from Act 1, No. 1 of Die le sole ore felici, to lose the only happy hours I have Entführung aus dem Serail ch’ho nel giovar gli oppressi, in helping those in distress, nel sollevar gli amici; in raising up my friends, Hier soll ich dich denn sehen, Here then shall I see you, nel dispensar tesori in awarding riches Konstanze, dich mein Glück! Constanze, my joy! al merto, e alla virtù? to merit and to valour? Laß, Himmel, es geschehen: Heaven, let it come to pass, gib mir die Ruh zurück! restore my peace! Ich duldete der Leiden, o Liebe, allzuviel! O love, I have suffered all too many sorrows. Schenk’ mir dafür nun Freuden Now grant me joys in their stead und bringe mich ans Ziel. and bring me to my goal.

- 14 - - 15 - 10. Tito’s aria from Act 1, Scene 6 of Arias by La Clemenza di Tito 12. Iopas’s aria from Act 4, Scene 2 Ah, se fosse intorno al trono Ah, if about my throne of Les Troyens ogni cor così sincero, every heart were so sincere, non tormento un vasto impero, a vast empire would not be a torment Ô blonde Cérès, O golden Ceres, ma saria felicità. but bliss. quand à nos guérets when you adorn tu rends leur parure our fallow fields Non dovrebbero i regnanti Rulers should not have to suffer de fraîche verdure, with their finery of fresh crops, tollerar sì grave affanno, such deep anxiety que d’heureux tu fais! what joy you bring! per distinguer dall’inganno to distinguish hidden truth l’insidiata verità. from deception. Du vieux laboureur, The gratitude du jeune pasteur, of the old ploughman, 11. Tito’s aria from Act 2, Scene 9 of la reconnaissance of the young shepherd La Clemenza di Tito bénit l’abondance, is a blessing on the abundance que tu leur promets. you promise them. Se all’impero, amici Dei, If a hard heart is necessary to a ruler, necessario è un cor severo; ye benevolant gods, Ô blonde Cérès, etc. O golden Ceres, etc. o togliete a me l’impero, either take the empire from me o a me date un altro cor. or give me another heart. Le timide oiseau, The timid bird, le folâtre agneau, the playful lamb, Se la fé de’ regni miei If I cannot assure the loyalty des vents de la plaine the soft breath coll’amor non assicuro: of my realms by love: la suave haleine, of the winds of the plain d’una fede non mi curo, I care not for a loyalty chantent tes bienfaits. sing of your benevolence. che sia frutto del timor. that is born of fear Féconde Cérès Fruitful Ceres, quand à nos guérets, etc. when you adorn, etc.

- 16 - - 17 - 13. Bénédict’s aria from Act 1 of Un cruel mensonge! a cruel illusion! Béatrice et Bénédict: Ô rage! ô fureur! O anger! O fury! Non, non.... Je vais l’aimer, etc. No... I shall love her, etc. Ah! je vais l’aimer, Ah! I shall love her, mon coeur me l’annonce! my heart tells me so! 14. No 4, ‘Chant de bonheur’ from A son vain orgueil I feel that it is turning away Lélio ou Le retour à la vie Op. 14b je sens qu’il renonce. from vain pride. Je vais l’admirer, Je vais l’adorer, I shall admire her, worship her, Ô mon bonheur ma vie, O my joy, my life, l’idolâtrer. idolise her! mon être tout entier, my whole being, mon Dieu, mon univers! my God, my universe! Fille ravissante! Entrancing girl! Est-il auprès de toi quelque bien Is it some happiness at your side Béatrice, ô dieux! Beatrice, o gods! que j’envie? that I desire? Le feu de ses yeux! The fire in her eyes! Je te vois, tu souris, I see you, you smile, Sa grâce agaçante, Her seductive grace, les cieux me sont ouverts! the skies clear for me! son esprit si fin, her refinement, son charme divin, her heavenly charm, L’ivresse de l’amour For us, love’s passion tout séduit en elle, everything about her is alluring, pour nous est trop brûlante, is too intense, et sa lèvre appelle and her lips call Ce tendre abattement this tender drowsiness un baiser sans fin. for an endless kiss. est plus délicieux. brings more delight. Repose dans mes bras, Rest in my arms, Ah! je vais l’aimer, etc. Ah! I shall love her, etc. repose cette tête charmante. Rest your charming head. Viens! Viens! Come! Come, Chère Béatrice! Beloved Beatrice! Ô ma rêveuse amante, my dreamy love, Ciel! il se pourrait... Heavens! What if sur mon coeur éperdu. to my anxious heart. elle m’aimerait… she were to love me.... Viens clore tes beaux yeux! Come close your lovely eyes. Ô joie! Ô supplice! Oh joy! Oh pain! Un pareil bonheur, Is my heart est-il pour mon coeur? to find such happiness? Si c’était un songe! If it were a dream,

- 18 - - 19 - 15. ‘Air de Faust’ from Part 3, Scene 9 of La Damnation de Faust Op. 24 BIOGRAPHY

Merci, doux crepuscule! Thanks, gentle twilight! Oh! sois le bienvenu! Oh, welcome! Andrew kennedy Éclaire enfin ces lieux, Shine your light on this place, sanctuaire inconnu, this unknown sanctuary, Andrew Kennedy studied at King’s College, où je sens à mon front where I feel a Cambridge and The Royal College of Music in London. glisser comme un beau rêve, beautiful dream steal over me He was a member of the Young Artists Programme comme le frais baiser like the pure kiss at the Royal Opera House, Covent Garden, where he d’un matin qui se lève. of the waking day. has performed many solo principal roles. C’est de l’amour, This is love! c’est de l’amour, j’espère... This is love, I hope... In 2005 he won the BBC Cardiff Singer of the World Rosenblatt Recital Prize. He is a Borletti-Buitoni Oh! comme on sent ici Oh! How care Trust Award winner and in 2006 won the prestigious s’envoler le souci! seems to take flight here! Royal Philharmonic Society Young Artists’ Award. Que j’aime ce silence, How I love this silence, He was also a member of the BBC Radio 3 New et comme je respire un air pur! and what pure air I breathe! Generation Artists Scheme. He has sung major Ô jeune fille! Ô ma charmante! O maiden! O my delight! roles at Frankfurt Opera (Tito La Clemenza di Tito); Ô ma trop idéale amante! O my too idealised love! Houston Grand Opera (Captain Vere Billy Budd and Quel sentiment j’éprouve What feelings fill me Peter Quint The Turn of the Screw); La Monnaie en ce moment fatal! at this moment of destiny! (Tom Rakewell The Rake’s Progress); Opera de Lyon Que j’aime à contempler How I love to gaze upon (Don Ottavio Don Giovanni); Glyndebourne Festival ton chevet virginal! your virginal bed! Opera (Jaquino Fidelio); Opera North (Nemorino The Quel air pur je respire! What pure air I breathe! Elixir of Love) and English National Opera (Tamino Seigneur! Seigneur! Lord! Lord! The Magic Flute). He recently made his debut at La Après ce long martyre, After all this agony, Scala, Milan as Tom Rakewell in Stravinsky’s The que de bonheur! what joy! Rake’s Progress. © Benjamin Ealovega

- 20 - - 21 - The conductors he has worked with include Sir SbS presents over 60 performances each year which arts organisations. SbS has performed with the Double Bass Horn Colin Davis, Daniel Harding, Vladimir Jurowski, include concerts and festivals across the UK and Orchestra of the Royal Opera House, Academy of Georg Burgstaller Kathryn Allnutt Sir Roger Norrington, Gianandrea Noseda, David Europe and an annual residency in Tuscany, Italy. St Martin in the Fields, BBC Concert Orchestra, Holly Cook Lucy Gallantine Robertson, Sir John Eliot Gardiner and Sir Mark A distinctive and integral part of the programme London Sinfonietta and the Orchestra of the Elder. He appears regularly in recital with Julius is the free, informal Thursday Rush Hour series in Age of Enlightenment. The orchestra has also Harp Trumpet Drake, Roger Vignoles, Malcolm Martineau and Iain the orchestra’s home at St John’s Waterloo, London. worked with many acclaimed conductors and Lucy Haslar Lucy Leleu Burnside throughout Europe and the UK . The breadth of repertoire that is performed by SbS artists including Patrons Vladimir Ashkenazy William Russell is also unique. From opera and ballet to Baroque, and Sir Thomas Allen, Barry Wordsworth, Michael Flute SOUTHBANK SINFONIA contemporary, core classical and light music – a Collins, Raphael Wallfisch, Tasmin Little, Philip Jose Zalba Trombone truly versatile orchestra. Southbank Sinfonia’s Dukes and Sally Matthews. Claire Overbury Blair Sinclair Southbank Sinfonia (SbS) is an orchestra of young co-production of Tom Stoppard and André Previn’s Nicola Smedley Billy Yates professionals recently described by The Times as ‘a ‘Every Good Boy Deserves Favour’ at the National www.southbanksinfonia.co.uk Dan West dashing ensemble who play with exhilarating fizz, Theatre typifies its commitment to extending the Oboe exactness and stamina’. Founded in 2002, SbS is boundaries of the orchestral world. Anna Turmeau Timpani firmly established as Britain’s orchestral academy, Violin I Viola Liesbeth Allart Elizabeth Barker providing the most talented musicians with a Alongside SbS’s public performances the orchestra Eugene Lee Rebecca Saxby much-needed springboard into the profession. works in conjunction with many leading performing Clare Wheeler Shelagh McKail Percussion Thomas Leate Mariya Sotirova Kristal Hamson Michael Allen Clare Kennington Christopher Beckett John Slack Stephen Burke Alberto Vidal Borrella Louise Parker Karen Hutt Angela Balint Bassoon Lorna Tyack Harpsichord Violin II Cello Llinos Owen Dan Tidhar Mireia Ferrer Alessandro Sanguineti Andrew Watson Chloé Boireau Michael Wigram Arnaud Ghillebaert Lora Marinova Charmian Keay Stefan Hadjiev

Proud principal partner of Southbank Sinfonia © Aubrey Kurlansky

- 22 - - 23 - SIMON OVER

Simon Over is co-founder and Music Director of Southbank Sinfonia (SbS) and has conducted the orchestra in a range of performances and projects in venues across the UK and Europe. Notable recent projects include conducting SbS’s first commercial recording, with cellist Raphael Wallfisch, as well as directing the orchestra on stage at the National Theatre in Tom Stoppard and André Previn’s play for actors and orchestra ‘Every Good Boy Deserves Favour’.

Educated at the Royal Academy of Music, Oxford University and the Amsterdam Conservatoire, Simon was a member of the music staff at Westminster Abbey, and Director of Music at both St Margaret’s Church and the Chapel of St Mary Undercroft in the Palace of Westminster from 1992 to 2002.

Simon is the Founder-Conductor of the Parliament Choir, Director of Music of the Malcolm Sargent Festival Choir and Artistic Director of the Anghiari Festival in Tuscany. He also works closely with Samling, based in Northeast England, in its work with young singers. Simon is a guest conductor of the City Chamber Orchestra (Hong Kong) and the Southern Sinfonia (New Zealand). Stills taken from a Borletti-Buitoni Trust film by Graham Johnston. Visit www.bbtrust.com to see the film.

- 24 - - 25 - Andrew Kennedy would like to thank his principal sponsers without whose generosity and support this disc would not have been possible:

The Borletti-Buitoni Trust EFG Private Bank Vernon and Hazel Ellis Siri Fischer-Hanson Recorded at All Hallows, Gospel Oak, London on 3 to 5 July 2009. Special thanks too to Julia Maynard, Hannah Taylor and Catherine Chan from Intermusica Artists Ltd Producer - Adrian Peacock Engineers - Mike Hatch and Andrew Mellor for their tireless organisation and support and also to Justin Lee, Simon Over and the whole Southbank Editor - Andrew Mellor Sinfonia team for making this project run so smoothly. Assistant - Alex Foster

Cover Photo - Benjamin Ealovega Design and Artwork - Woven Design www.wovendesign.co.uk

℗ 2010 The copyright in this recording is owned by Signum Records Ltd. © 2010 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form The Borletti-Buitoni Trust (BBT) helps outstanding young musicians develop and sustain international or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. careers with awards that fund tailor-made projects. As well as financial assistance the Trust provides SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. invaluable support and encouragement to an ever-growing family of young musicians. +44 (0) 20 8997 4000 E-mail: [email protected] www.bbtrust.com. www.signumrecords.com

- 26 - - 27 - ALSO AVAILABLE on signumclassics

On Wenlock Edge Liszt Abroad Andrew Kennedy, The Dante Quartet, Simon Crawford-Phillips Rebecca Evans (sop), Andrew Kennedy (ten), Matthew Rose (bass) SIGCD112 Iain Burnside (piano) SIGCD155

Music by Ralph Vaughan-Williams, Ian Venables and Ivor Gurney Foreign Language song settings by Franz Liszt

“Kennedy has a big, bright, expressive tenor voice and uses it with “The recording is excellent … Signum can be congratulated on another fervour, delicacy and imagination ... A thoughtfully realised recital” five star disc, which should be heard by every lover of songs” The Independent on Sunday MusicWebInternational.com

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000