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Federica Bragaglia Federica Bragaglia studied the piano, as well as classical and modern dance at the 2 CDs Conservatorio di Frosinone, where she was awarded her diploma. Winner of various DONIZETTI competitions, she owes her dramatic training to Rossella Falk. She has collaborated with conductors including Bartoletti, David, Gelmetti, Inbal, Kuhn, Lombard, Ranzani, Ros- Marba, Mazzola, Plasson, Santi, and Soustrot, and with stage directors including Cavani, Roberto Devereux Chazalettes, Crivelli, Deflo, Herzog, Mansouri, Montaldo, Montresor, Pizzi and Puggelli. She has appeared at leading theatres, including the Comunale, Bologna, the Opera House, Theodossiou • Schroeder • Bragaglia Rome, the Carlo Felice, Genoa, the Regio, Turin, the Massimo Bellini, Catania, the Arena and the Filarmonico, Verona, the Comunale, Modena, the Regio, Parma, the Verdi, Trieste, Pisapia • Albani • Valerio and the Maestranza, Seville. She also enjoys an active concert career. Bergamo Musica Festival Orchestra and Chorus Orchestra and Chorus of the Bergamo Musica Festival Specially formed in 2006 for the Autumn Bergamo Donizetti Opera season, the Bergamo Musica Festival Orchestra and Chorus is made up in large part of both members of staff and the best students of the Istituto Musicale bergamasco. Marcello Rota Marcello Rota Marcello Rota has been a frequent guest with the world’s great opera companies, conducting performances at the Accademia Nazionale di Santa Cecilia, Rome, Teatro alla Scala, Milan, Teatro dell’Opera, Rome, Teatro Comunale, Bologna, Teatro San Carlo, Naples, Arena di Verona, Teatro Carlo Felice, Genoa, Concertgebouw, Amsterdam, Staatsoper, Munich, Musik Halle, Hamburg, Royal Albert Hall, London, Palais Des Beaux Arts in Bruxelles, and the Elisabeth Halle in Antwerp. He has been a regular guest of important orchestras including the Philharmonic Orchestras of Munich, Berlin and Mannheim, the Orchestra Sinfonica della RAI di Torino, Orchestra “Arturo Toscanini”, Parma, the Swiss Italian Orchestra, the Nordwestdeutsche Philharmonie, the Baden-Baden Philharmonic, the Royal Philharmonic Orchestra, the Symphonic Orchestra of Galicia, the Gran Canaria Philharmonic, the Moscow Philharmonic Orchestra, the Philharmonic of Buenos Aires, the San Diego Symphony, the Vancouver Symphony, the Hollywood Bowl Orchestra, the New Jersey Symphony, the Melbourne Symphony, the Sydney Symphony, the Adelaide Symphony, the Queensland Symphony, the Perth Symphony and the Auckland and New Zealand Symphonies. Since 2004 he has been the Principal Guest Conductor of the Czech National Symphony Orchestra of Prague.
Get this free download from Classicsonline! Bellini: La Sonnambula: Scena ed Aria - Reggimi, o buona madre Copy this Promotion Code NaxsoYb00wS5 and go to http://www.classicsonline.com/mpkey/bel35_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”.
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Gaetano Dimitra Theodossiou The Greek soprano Dimitra Theodossiou came to international attention as Odabella in Attila in Bologna and Parma. She sang Lina in Stiffelio in Lisbon and Trieste, Norma in DONIZETTI Verona, Catania, Tokyo and Macerata, Giselda in I Lombardi in Florence, Anna Bolena (1797–1848) in Naples, Munich and Bergamo, Elvira in Ernani in Madrid, Leonora in Il trovatore and Lucrezia in I due Foscari at La Scala under Muti, Desdemona in Otello in Venice, Roberto Devereux Elisabetta in Don Carlo in Naples, Rome, and Zurich, Violetta in La traviata in Rome, Florence, Tokyo, and Seoul, Amalia in I Masnadieri in Palermo, Brussels and Vienna,
Tragedia lirica in Three Acts Medea in Lisbon, Elisabetta in Roberto Devereux, Abigaille in Nabucco, as well as © Eiichiro SAKATA, AERA Libretto by Salvatore Cammarano Margherita/Elena in Boito’s Mefistofele in leading opera houses throughout the world. Massimiliano Pisapia Elizabeth, Queen of England ...... Dimitra Theodossiou Born in Turin, Massimiliano Pisapia undertook advanced studies under the guidance of The Duke of Nottingham ...... Andrew Schroeder Franco Corelli. He made his début as Pinkerton in Madama Butterfly at the Teatro Fraschini di Pavia. Since then he has appeared in the most important international theatres, Sara, Duchess of Nottingham ...... Federica Bragaglia including La Scala, Milan, the Opernhaus, Zurich, the Bavarian State Opera, Munich, the Robert Devereux, Earl of Essex ...... Massimiliano Pisapia State Opera, Hamburg, the Opernhaus, Leipzig, the Colón, Buenos Aires, the Maggio Musicale, Florence, the Carlo Felice, Genoa, the Regio, Turin, the Massimo, Palermo, the Lord Cecil ...... Luigi Albani Arena, Verona, the Verdi, Trieste, the Regio, Parma and the Puccini Festival, Torre del Lago, with a repertory which includes Madama Butterfly, Rigoletto, Les contes Sir Walter Raleigh ...... Giorgio Valerio d’Hoffmann, Macbeth, Simon Boccanegra, La bohème, Un ballo in maschera, I Lombardi A Page / A Servant ...... Tommaso Norelli alla prima crociata, Roberto Devereux, L’elisir d’amore, Gianni Schicchi, La traviata and Lucia di Lammermoor. Active also in the concert hall, he has sung in Rossini’s Stabat Mater (Milan, Zurich, Einsiedeln), Dvorˇák’s Stabat Mater (Verona), Verdi’s Requiem (Cagliari) and Beethoven’s Orchestra and Chorus of the Bergamo Musica Festival Ninth Symphony (Cagliari). He has collaborated with such conductors as Antonello Allemandi, Bruno Bartoletti, Marcello Rota Riccardo Chailly, Daniel Oren and Stefano Ranzani. In November 2007 he made his début at the Vienna State Opera in Un ballo in maschera, with 2007/08 season appearances in Simon Boccanegra in Hamburg, Roberto Devereux and Chorus Master: Corrado Casati Un ballo in maschera at the Bavarian State Opera and Gianni Schicchi in Frankfurt.
Andrew Schroeder The American singer Andrew Schroeder had his early operatic experience at the Chicago Lyric Opera and the Metropolitan Opera of New York. His career has since taken him to performances at the Lisbon São Carlo, the Toulouse Théâtre du Capitole, Welsh National Opera, Teatro La Fenice, Opéra de Nantes, Opéra Bastille, La Monnaie, Grand Théâtre de Tours, Théâtre de Nancy et Lorraine, Grand Théâtre de Genève, Canterbury Opera, New Zealand, Utah Opera, De Nederlandse Opera of Amsterdam, English National Opera, and Teatro Carlo Felice. He has appeared at the Edinburgh and Spoleto U.S.A. Festivals and collaborated with Boston Opera, New York City Opera, the American Symphony Orchestra, West Australian Opera and Opera Australia, Vancouver Opera, All photos from the Bergamo Music Festival production (front cover, Andrew Schroeder on page 7 and Federica Pacific Opera and Washington Opera at the Kennedy Center, as well as the EOS Ensemble Bragaglia on page 8) are © Photo Studio U. V. of New York. He also enjoys a career in the concert hall.
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CD 2 indicates that Essex is being led to the Tower. To prevent CD 1 54:39 CD 2 72:39 Sara from running to the Queen, he gives orders that she Act 1 Act 2 Act 2 is not to leave the house. 1 Prelude: Geme! … pallor funereo 1 Introduction: L’ore trascorrono, … (Chorus) 4:28 The Palace of Westminster 8 Sara pleads with her husband, in vain. (Sara, Chorus) 3:24 2 Ebben? (Elizabeth, Cecil, Raleigh) 2:55 3 Duet: Non venni mai sì mesto (Elizabeth, 1 Dawn has broken. Essex has not escaped. The lords Scene 2: The condemned cell in the Tower of London. 2 All’afflitto è dolce il pianto (Sara, Chorus) 2:56 Cecil, Raleigh) 6:26 and ladies discuss the trial and foretell his execution. 3 Duchessa … alle fervide preci del tuo 9 A sombre orchestral introduction sets the scene. Essex 4 Trio: Ecco l’indegno! (Elizabeth, Robert, consorte (Elizabeth, Sara) 3:21 2 Cecil informs Elizabeth that, despite Nottingham’s – pessimistic one moment, optimistic the next – wishes Nottingham) 7:06 vigorous defence, Essex has been sentenced to death. In only to clear Sara’s reputation. 4 Aria: L’amor suo mi fè beata (Elizabeth) 3:08 5 Scellerato! (Nottingham, Robert, Elizabeth, private, Raleigh tells her that Essex did not return home 5 Cecil, Raleigh, Chorus) 7:05 0 Essex swears to the absent Nottingham that his wife is Nunzio son del parlamento (Cecil, Sara, till dawn. Concealed on his body was the blue scarf, which Elizabeth, A Page, Raleigh, Chorus) 4:12 Raleigh produces. Elizabeth is immediately suspicious. chaste. Act 3 6 Donna reale (Robert, Elizabeth) 4:43 6 Duet: Né riede ancora il mio consorte! 3 As Raleigh leaves, Nottingham enters with the death ! The sound of footsteps and of a lock turning signal a (Sara, A Servant, Nottingham) 4:05 reprieve, or so Essex thinks; but the guards have come to 7 Duet: Un tenero core mi rese felice warrant. He begs for mercy on behalf of his friend. 7 Non sai che un nume vindice escort him to his execution. His breast bathed in tears, (Elizabeth, Robert) 3:42 Elizabeth is adamant that Essex should die. (Nottingham, Sara) 4:40 stained with his blood, Essex in heaven will beseech God 8 Un lampo orribile (Elizabeth, Robert) 3:02 4 Essex is brought in, under guard. Elizabeth shows him 8 All’ambascia ond’io mi struggo (Sara, to help his beloved. The guards promise him the cruellest 9 Roberto … ! (Nottingham, Robert) 3:06 the scarf as evidence of his perfidy. Nottingham of deaths. Nottingham) 3:23 recognises it, and is appalled. The action freezes as all 0 Forse in quel cor sensibile (Nottingham, 9 Ed ancor la tremenda porta – non si three take in the situation … Scene 3: The Palace of Westminster Robert) 2:54 dischiude? (Robert) 4:26 ! Duca, vieni (Cecil, Nottingham, Robert, 0 Aria: Come uno spirto angelico (Robert) 2:29 5 … but explodes as Nottingham demands a sword for @ Elizabeth is with her ladies. She has sent for Sara to Chorus) 5:33 vengeance. Elizabeth mistakes the reason for his rage; comfort her while, no longer angry, she desperately waits ! Odo un suon per l’aria cieca (Robert, she tells Essex that he will be spared if he names her rival. for Essex to send her the ring. @ Tutto è silenzio … (Sara, Robert) 4:42 Chorus) 5:37 @ Finale: E Sara in questi orribili momenti When he refuses, she signals for the courtiers to enter, # # Ah parmi sognar (Robert) 5:38 Through her tears, Elizabeth thinks of Essex living on (Elizabeth, Chorus) 4:16 and signs the death warrant. She dismisses Essex in a with her rival, while she herself is abandoned. phrase that rises like a rocket, becoming even more $ E quando fuggirai (Sara, Robert) 4:17 # Aria: Vivi, ingrato, a lei d’accanto intense when the key moves from minor to major. $ Cecil reports that Essex is on his way to the scaffold. (Elizabeth) 5:12 Sara rushes in with the ring. At last, Elizabeth realises $ Act 3 Che m’apporti? (Elizabeth, Cecil, Sara, that it is Sara whom Essex loves. But it is too late to save Nottingham, Chorus) 3:38 Scene 1: The apartments of the Duchess him. A cannon shot is heard as Nottingham, ‘with % Aria: Quel sangue versato al cielo s’innalza ferocious joy’, announces that Essex is dead. He (Elizabeth, Chorus) 6:45 6 The act opens with the orchestra recalling proclaims his responsibility for preventing Sara from Nottingham’s ‘friendship’ aria in Act 1 (CD1, track 11). reaching the Queen in time. A soldier brings Sara a letter from Essex, begging her to save him by returning the ring to the Queen. Before she % As Nottingham and Sara are led away, Elizabeth has can act, Nottingham enters and demands to see the letter. a vision of the headless Essex. She will reign no longer: James is now the King of England. 7 While Nottingham rages, Sara asserts her innocence. Nottingham is exultant as the sound of a funeral march © Richard Lawrence, 2008
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Gaetano Donizetti (1797–1848) Synopsis Roberto Devereux CD 1 7 Elizabeth reflects on her earlier happiness, before It is said that Donizetti was once asked if he thought it true arrived in 1822, briefly overlapping with Rossini, and trying to force Essex to admit that he is in love with that Rossini had composed Il barbiere di Siviglia in Naples was to be his principal operatic home until he Act 1 another woman. He denies it once … thirteen days. ‘Why not?’, he replied. ‘He’s so lazy.’ moved to Paris in 1838. His comic masterpieces, L’elisir Whether true or not, the story points up Donizetti’s d’amore (1832) and Don Pasquale (1843), both well Scene 1: The great hall in the Palace of Westminster 8 … and a second time. Elizabeth leaves. amazing industry. Rossini chalked up a total of 39 operas, known today, were written for Milan and Paris 1 There is no overture (though Donizetti did write one 9 The Duke of Nottingham enters. He is the friend of including revisions and adaptations; Bellini, Donizetti’s respectively. Tastes change: until recently, Donizetti was for the Paris production in 1838, anachronistically Essex as well as Sara’s husband. Their conversation great rival, a mere ten. But between 1816 and 1843, celebrated more for his tragedies, the most famous being incorporating ‘God save the Queen’). The ladies of the moves swiftly to Nottingham’s unhappiness. The day Donizetti composed no less than 65 operas; and there Lucia di Lammermoor (Naples, 1835). court comment on the unhappiness of Sara, the Duchess before, unseen, he had watched Sara weeping and praying were pieces left unfinished, notably Le duc d’Albe, which Donizetti died in 1848, his last years clouded by illness of Nottingham. Sara pretends that her sadness is due to the for death as she embroidered a blue scarf. as Il duca d’Alba was completed by other hands. and insanity. Roberto Devereux, first produced in Naples book she is reading about Rosamond, the mistress of Gaetano Donizetti was born in Bergamo in 1797, the in October 1837, was composed at a desperately unhappy Henry II. 0 Nottingham suffered pangs of jealousy, but now fifth of six children. He had the good fortune early on to time: in July his wife Virginia had died, possibly of believes that angels like his wife are incapable of sin. attract the attention of the composer Simon Mayr, a cholera, probably as the result of a syphilitic infection 2 In her ‘romanza’, she contrasts her fate with Bavarian who was maestro di cappella at the church of from her husband. Donizetti was heartbroken, and he Rosamond’s. ! On behalf of the Queen, Cecil summons Nottingham Santa Maria Maggiore. Mayr had founded a free music never got over her death. But he pulled himself together to a meeting of the Council. Soft chords in a distant key school in Bergamo, to which the eight-year-old Donizetti in time to prepare a revised version of an earlier work and 3 Queen Elizabeth enters and the ladies retire to the back. accompany his sinister explanation: ‘A sentence put off was one of the first entrants. Thus he got a good grounding to supervise the rehearsals for his new opera. Robert Devereux, the Earl of Essex, has been recalled for too long.’ A simple phrase on the woodwind in theory and composition; he became an accomplished Roberto Devereux was the third and last opera of from Ireland, accused of treason. Elizabeth is fearful of a introduces Nottingham’s assurances to Essex of friendship pianist, but his lack of proficiency in singing nearly led to Donizetti’s to feature Queen Elizabeth I, the others being different kind of betrayal: that Essex loves another and support. his expulsion. Elisabetta al castello di Kenilworth (Naples, 1829) and woman. Sara trembles with fear. When Donizetti was almost eighteen, Mayr arranged Maria Stuarda (Milan, 1835). The libretto was by Scene 2: The apartments of the Duchess in Nottingham 4 Elizabeth sings of Robert’s love, and of her misery House for him to study with the elderly Padre Mattei in Bologna. Salvatore Cammarano, the resident poet and stage director should his heart no longer be hers. Mattei was a distinguished pedagogue who had had for the Neapolitan opera houses. While Donizetti was in @ Sara is alone. Essex enters and reproaches her for Rossini among his pupils, and Donizetti must have Naples he used no other collaborator, even for 5 Lord Cecil, Sir Walter Raleigh and others enter. having married. She miserably explains that her father benefited from his instruction; but it was Mayr for whom commissions from Venice. Cammarano was a skilled Elizabeth deflects Cecil’s reminder that Parliament has died while Essex was away, whereupon the Queen obliged he felt affection and respect. dramatist, but he played fast and loose with English the right to pronounce judgment on Essex, and acquiesces her to marry Nottingham. Essex affirms his love for Sara These feelings were mutual, continuing for the rest of history. Just as, in Lucia, it is a surprise to find that to the latter’s request for an audience. Provided he loves by flinging the Queen’s ring onto the table: an unwise Donizetti’s life. And it was Mayr who put Donizetti in William III has predeceased Queen Mary, so in Roberto her, she tells herself, he is innocent of any charge. gesture, as it turns out. the way of Bartolomeo Merelli, a librettist and, later, an Devereux Queen Elizabeth appears to abdicate in favour impresario. The success of their fourth collaboration led of ‘Giacomo’ (James VI of Scotland, who did indeed 6 Essex enters. Tellingly, Elizabeth greets him first as # Under pressure from Sara, Essex agrees to escape to Donizetti’s being engaged by the impresario Domenico become James I of England, but after Elizabeth’s death). ‘Roberto’, then as ‘Conte’. Dismissing the courtiers, she abroad. Barbaia, who ran the opera houses in Naples. Donizetti questions him about the accusation of treason. Reassured by his answer, she then reminds him of the ring that she $ They part for ever, but not before Sara has given him gave him: if he is in trouble he should send it to her. the blue scarf: another bad move.
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Gaetano Donizetti (1797–1848) Synopsis Roberto Devereux CD 1 7 Elizabeth reflects on her earlier happiness, before It is said that Donizetti was once asked if he thought it true arrived in 1822, briefly overlapping with Rossini, and trying to force Essex to admit that he is in love with that Rossini had composed Il barbiere di Siviglia in Naples was to be his principal operatic home until he Act 1 another woman. He denies it once … thirteen days. ‘Why not?’, he replied. ‘He’s so lazy.’ moved to Paris in 1838. His comic masterpieces, L’elisir Whether true or not, the story points up Donizetti’s d’amore (1832) and Don Pasquale (1843), both well Scene 1: The great hall in the Palace of Westminster 8 … and a second time. Elizabeth leaves. amazing industry. Rossini chalked up a total of 39 operas, known today, were written for Milan and Paris 1 There is no overture (though Donizetti did write one 9 The Duke of Nottingham enters. He is the friend of including revisions and adaptations; Bellini, Donizetti’s respectively. Tastes change: until recently, Donizetti was for the Paris production in 1838, anachronistically Essex as well as Sara’s husband. Their conversation great rival, a mere ten. But between 1816 and 1843, celebrated more for his tragedies, the most famous being incorporating ‘God save the Queen’). The ladies of the moves swiftly to Nottingham’s unhappiness. The day Donizetti composed no less than 65 operas; and there Lucia di Lammermoor (Naples, 1835). court comment on the unhappiness of Sara, the Duchess before, unseen, he had watched Sara weeping and praying were pieces left unfinished, notably Le duc d’Albe, which Donizetti died in 1848, his last years clouded by illness of Nottingham. Sara pretends that her sadness is due to the for death as she embroidered a blue scarf. as Il duca d’Alba was completed by other hands. and insanity. Roberto Devereux, first produced in Naples book she is reading about Rosamond, the mistress of Gaetano Donizetti was born in Bergamo in 1797, the in October 1837, was composed at a desperately unhappy Henry II. 0 Nottingham suffered pangs of jealousy, but now fifth of six children. He had the good fortune early on to time: in July his wife Virginia had died, possibly of believes that angels like his wife are incapable of sin. attract the attention of the composer Simon Mayr, a cholera, probably as the result of a syphilitic infection 2 In her ‘romanza’, she contrasts her fate with Bavarian who was maestro di cappella at the church of from her husband. Donizetti was heartbroken, and he Rosamond’s. ! On behalf of the Queen, Cecil summons Nottingham Santa Maria Maggiore. Mayr had founded a free music never got over her death. But he pulled himself together to a meeting of the Council. Soft chords in a distant key school in Bergamo, to which the eight-year-old Donizetti in time to prepare a revised version of an earlier work and 3 Queen Elizabeth enters and the ladies retire to the back. accompany his sinister explanation: ‘A sentence put off was one of the first entrants. Thus he got a good grounding to supervise the rehearsals for his new opera. Robert Devereux, the Earl of Essex, has been recalled for too long.’ A simple phrase on the woodwind in theory and composition; he became an accomplished Roberto Devereux was the third and last opera of from Ireland, accused of treason. Elizabeth is fearful of a introduces Nottingham’s assurances to Essex of friendship pianist, but his lack of proficiency in singing nearly led to Donizetti’s to feature Queen Elizabeth I, the others being different kind of betrayal: that Essex loves another and support. his expulsion. Elisabetta al castello di Kenilworth (Naples, 1829) and woman. Sara trembles with fear. When Donizetti was almost eighteen, Mayr arranged Maria Stuarda (Milan, 1835). The libretto was by Scene 2: The apartments of the Duchess in Nottingham 4 Elizabeth sings of Robert’s love, and of her misery House for him to study with the elderly Padre Mattei in Bologna. Salvatore Cammarano, the resident poet and stage director should his heart no longer be hers. Mattei was a distinguished pedagogue who had had for the Neapolitan opera houses. While Donizetti was in @ Sara is alone. Essex enters and reproaches her for Rossini among his pupils, and Donizetti must have Naples he used no other collaborator, even for 5 Lord Cecil, Sir Walter Raleigh and others enter. having married. She miserably explains that her father benefited from his instruction; but it was Mayr for whom commissions from Venice. Cammarano was a skilled Elizabeth deflects Cecil’s reminder that Parliament has died while Essex was away, whereupon the Queen obliged he felt affection and respect. dramatist, but he played fast and loose with English the right to pronounce judgment on Essex, and acquiesces her to marry Nottingham. Essex affirms his love for Sara These feelings were mutual, continuing for the rest of history. Just as, in Lucia, it is a surprise to find that to the latter’s request for an audience. Provided he loves by flinging the Queen’s ring onto the table: an unwise Donizetti’s life. And it was Mayr who put Donizetti in William III has predeceased Queen Mary, so in Roberto her, she tells herself, he is innocent of any charge. gesture, as it turns out. the way of Bartolomeo Merelli, a librettist and, later, an Devereux Queen Elizabeth appears to abdicate in favour impresario. The success of their fourth collaboration led of ‘Giacomo’ (James VI of Scotland, who did indeed 6 Essex enters. Tellingly, Elizabeth greets him first as # Under pressure from Sara, Essex agrees to escape to Donizetti’s being engaged by the impresario Domenico become James I of England, but after Elizabeth’s death). ‘Roberto’, then as ‘Conte’. Dismissing the courtiers, she abroad. Barbaia, who ran the opera houses in Naples. Donizetti questions him about the accusation of treason. Reassured by his answer, she then reminds him of the ring that she $ They part for ever, but not before Sara has given him gave him: if he is in trouble he should send it to her. the blue scarf: another bad move.
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CD 2 indicates that Essex is being led to the Tower. To prevent CD 1 54:39 CD 2 72:39 Sara from running to the Queen, he gives orders that she Act 1 Act 2 Act 2 is not to leave the house. 1 Prelude: Geme! … pallor funereo 1 Introduction: L’ore trascorrono, … (Chorus) 4:28 The Palace of Westminster 8 Sara pleads with her husband, in vain. (Sara, Chorus) 3:24 2 Ebben? (Elizabeth, Cecil, Raleigh) 2:55 3 Duet: Non venni mai sì mesto (Elizabeth, 1 Dawn has broken. Essex has not escaped. The lords Scene 2: The condemned cell in the Tower of London. 2 All’afflitto è dolce il pianto (Sara, Chorus) 2:56 Cecil, Raleigh) 6:26 and ladies discuss the trial and foretell his execution. 3 Duchessa … alle fervide preci del tuo 9 A sombre orchestral introduction sets the scene. Essex 4 Trio: Ecco l’indegno! (Elizabeth, Robert, consorte (Elizabeth, Sara) 3:21 2 Cecil informs Elizabeth that, despite Nottingham’s – pessimistic one moment, optimistic the next – wishes Nottingham) 7:06 vigorous defence, Essex has been sentenced to death. In only to clear Sara’s reputation. 4 Aria: L’amor suo mi fè beata (Elizabeth) 3:08 5 Scellerato! (Nottingham, Robert, Elizabeth, private, Raleigh tells her that Essex did not return home 5 Cecil, Raleigh, Chorus) 7:05 0 Essex swears to the absent Nottingham that his wife is Nunzio son del parlamento (Cecil, Sara, till dawn. Concealed on his body was the blue scarf, which Elizabeth, A Page, Raleigh, Chorus) 4:12 Raleigh produces. Elizabeth is immediately suspicious. chaste. Act 3 6 Donna reale (Robert, Elizabeth) 4:43 6 Duet: Né riede ancora il mio consorte! 3 As Raleigh leaves, Nottingham enters with the death ! The sound of footsteps and of a lock turning signal a (Sara, A Servant, Nottingham) 4:05 reprieve, or so Essex thinks; but the guards have come to 7 Duet: Un tenero core mi rese felice warrant. He begs for mercy on behalf of his friend. 7 Non sai che un nume vindice escort him to his execution. His breast bathed in tears, (Elizabeth, Robert) 3:42 Elizabeth is adamant that Essex should die. (Nottingham, Sara) 4:40 stained with his blood, Essex in heaven will beseech God 8 Un lampo orribile (Elizabeth, Robert) 3:02 4 Essex is brought in, under guard. Elizabeth shows him 8 All’ambascia ond’io mi struggo (Sara, to help his beloved. The guards promise him the cruellest 9 Roberto … ! (Nottingham, Robert) 3:06 the scarf as evidence of his perfidy. Nottingham of deaths. Nottingham) 3:23 recognises it, and is appalled. The action freezes as all 0 Forse in quel cor sensibile (Nottingham, 9 Ed ancor la tremenda porta – non si three take in the situation … Scene 3: The Palace of Westminster Robert) 2:54 dischiude? (Robert) 4:26 ! Duca, vieni (Cecil, Nottingham, Robert, 0 Aria: Come uno spirto angelico (Robert) 2:29 5 … but explodes as Nottingham demands a sword for @ Elizabeth is with her ladies. She has sent for Sara to Chorus) 5:33 vengeance. Elizabeth mistakes the reason for his rage; comfort her while, no longer angry, she desperately waits ! Odo un suon per l’aria cieca (Robert, she tells Essex that he will be spared if he names her rival. for Essex to send her the ring. @ Tutto è silenzio … (Sara, Robert) 4:42 Chorus) 5:37 @ Finale: E Sara in questi orribili momenti When he refuses, she signals for the courtiers to enter, # # Ah parmi sognar (Robert) 5:38 Through her tears, Elizabeth thinks of Essex living on (Elizabeth, Chorus) 4:16 and signs the death warrant. She dismisses Essex in a with her rival, while she herself is abandoned. phrase that rises like a rocket, becoming even more $ E quando fuggirai (Sara, Robert) 4:17 # Aria: Vivi, ingrato, a lei d’accanto intense when the key moves from minor to major. $ Cecil reports that Essex is on his way to the scaffold. (Elizabeth) 5:12 Sara rushes in with the ring. At last, Elizabeth realises $ Act 3 Che m’apporti? (Elizabeth, Cecil, Sara, that it is Sara whom Essex loves. But it is too late to save Nottingham, Chorus) 3:38 Scene 1: The apartments of the Duchess him. A cannon shot is heard as Nottingham, ‘with % Aria: Quel sangue versato al cielo s’innalza ferocious joy’, announces that Essex is dead. He (Elizabeth, Chorus) 6:45 6 The act opens with the orchestra recalling proclaims his responsibility for preventing Sara from Nottingham’s ‘friendship’ aria in Act 1 (CD1, track 11). reaching the Queen in time. A soldier brings Sara a letter from Essex, begging her to save him by returning the ring to the Queen. Before she % As Nottingham and Sara are led away, Elizabeth has can act, Nottingham enters and demands to see the letter. a vision of the headless Essex. She will reign no longer: James is now the King of England. 7 While Nottingham rages, Sara asserts her innocence. Nottingham is exultant as the sound of a funeral march © Richard Lawrence, 2008
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Gaetano Dimitra Theodossiou The Greek soprano Dimitra Theodossiou came to international attention as Odabella in Attila in Bologna and Parma. She sang Lina in Stiffelio in Lisbon and Trieste, Norma in DONIZETTI Verona, Catania, Tokyo and Macerata, Giselda in I Lombardi in Florence, Anna Bolena (1797–1848) in Naples, Munich and Bergamo, Elvira in Ernani in Madrid, Leonora in Il trovatore and Lucrezia in I due Foscari at La Scala under Muti, Desdemona in Otello in Venice, Roberto Devereux Elisabetta in Don Carlo in Naples, Rome, and Zurich, Violetta in La traviata in Rome, Florence, Tokyo, and Seoul, Amalia in I Masnadieri in Palermo, Brussels and Vienna,
Tragedia lirica in Three Acts Medea in Lisbon, Elisabetta in Roberto Devereux, Abigaille in Nabucco, as well as © Eiichiro SAKATA, AERA Libretto by Salvatore Cammarano Margherita/Elena in Boito’s Mefistofele in leading opera houses throughout the world. Massimiliano Pisapia Elizabeth, Queen of England ...... Dimitra Theodossiou Born in Turin, Massimiliano Pisapia undertook advanced studies under the guidance of The Duke of Nottingham ...... Andrew Schroeder Franco Corelli. He made his début as Pinkerton in Madama Butterfly at the Teatro Fraschini di Pavia. Since then he has appeared in the most important international theatres, Sara, Duchess of Nottingham ...... Federica Bragaglia including La Scala, Milan, the Opernhaus, Zurich, the Bavarian State Opera, Munich, the Robert Devereux, Earl of Essex ...... Massimiliano Pisapia State Opera, Hamburg, the Opernhaus, Leipzig, the Colón, Buenos Aires, the Maggio Musicale, Florence, the Carlo Felice, Genoa, the Regio, Turin, the Massimo, Palermo, the Lord Cecil ...... Luigi Albani Arena, Verona, the Verdi, Trieste, the Regio, Parma and the Puccini Festival, Torre del Lago, with a repertory which includes Madama Butterfly, Rigoletto, Les contes Sir Walter Raleigh ...... Giorgio Valerio d’Hoffmann, Macbeth, Simon Boccanegra, La bohème, Un ballo in maschera, I Lombardi A Page / A Servant ...... Tommaso Norelli alla prima crociata, Roberto Devereux, L’elisir d’amore, Gianni Schicchi, La traviata and Lucia di Lammermoor. Active also in the concert hall, he has sung in Rossini’s Stabat Mater (Milan, Zurich, Einsiedeln), Dvorˇák’s Stabat Mater (Verona), Verdi’s Requiem (Cagliari) and Beethoven’s Orchestra and Chorus of the Bergamo Musica Festival Ninth Symphony (Cagliari). He has collaborated with such conductors as Antonello Allemandi, Bruno Bartoletti, Marcello Rota Riccardo Chailly, Daniel Oren and Stefano Ranzani. In November 2007 he made his début at the Vienna State Opera in Un ballo in maschera, with 2007/08 season appearances in Simon Boccanegra in Hamburg, Roberto Devereux and Chorus Master: Corrado Casati Un ballo in maschera at the Bavarian State Opera and Gianni Schicchi in Frankfurt.
Andrew Schroeder The American singer Andrew Schroeder had his early operatic experience at the Chicago Lyric Opera and the Metropolitan Opera of New York. His career has since taken him to performances at the Lisbon São Carlo, the Toulouse Théâtre du Capitole, Welsh National Opera, Teatro La Fenice, Opéra de Nantes, Opéra Bastille, La Monnaie, Grand Théâtre de Tours, Théâtre de Nancy et Lorraine, Grand Théâtre de Genève, Canterbury Opera, New Zealand, Utah Opera, De Nederlandse Opera of Amsterdam, English National Opera, and Teatro Carlo Felice. He has appeared at the Edinburgh and Spoleto U.S.A. Festivals and collaborated with Boston Opera, New York City Opera, the American Symphony Orchestra, West Australian Opera and Opera Australia, Vancouver Opera, All photos from the Bergamo Music Festival production (front cover, Andrew Schroeder on page 7 and Federica Pacific Opera and Washington Opera at the Kennedy Center, as well as the EOS Ensemble Bragaglia on page 8) are © Photo Studio U. V. of New York. He also enjoys a career in the concert hall.
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Federica Bragaglia Federica Bragaglia studied the piano, as well as classical and modern dance at the 2 CDs Conservatorio di Frosinone, where she was awarded her diploma. Winner of various DONIZETTI competitions, she owes her dramatic training to Rossella Falk. She has collaborated with conductors including Bartoletti, David, Gelmetti, Inbal, Kuhn, Lombard, Ranzani, Ros- Marba, Mazzola, Plasson, Santi, and Soustrot, and with stage directors including Cavani, Roberto Devereux Chazalettes, Crivelli, Deflo, Herzog, Mansouri, Montaldo, Montresor, Pizzi and Puggelli. She has appeared at leading theatres, including the Comunale, Bologna, the Opera House, Theodossiou • Schroeder • Bragaglia Rome, the Carlo Felice, Genoa, the Regio, Turin, the Massimo Bellini, Catania, the Arena and the Filarmonico, Verona, the Comunale, Modena, the Regio, Parma, the Verdi, Trieste, Pisapia • Albani • Valerio and the Maestranza, Seville. She also enjoys an active concert career. Bergamo Musica Festival Orchestra and Chorus Orchestra and Chorus of the Bergamo Musica Festival Specially formed in 2006 for the Autumn Bergamo Donizetti Opera season, the Bergamo Musica Festival Orchestra and Chorus is made up in large part of both members of staff and the best students of the Istituto Musicale bergamasco. Marcello Rota Marcello Rota Marcello Rota has been a frequent guest with the world’s great opera companies, conducting performances at the Accademia Nazionale di Santa Cecilia, Rome, Teatro alla Scala, Milan, Teatro dell’Opera, Rome, Teatro Comunale, Bologna, Teatro San Carlo, Naples, Arena di Verona, Teatro Carlo Felice, Genoa, Concertgebouw, Amsterdam, Staatsoper, Munich, Musik Halle, Hamburg, Royal Albert Hall, London, Palais Des Beaux Arts in Bruxelles, and the Elisabeth Halle in Antwerp. He has been a regular guest of important orchestras including the Philharmonic Orchestras of Munich, Berlin and Mannheim, the Orchestra Sinfonica della RAI di Torino, Orchestra “Arturo Toscanini”, Parma, the Swiss Italian Orchestra, the Nordwestdeutsche Philharmonie, the Baden-Baden Philharmonic, the Royal Philharmonic Orchestra, the Symphonic Orchestra of Galicia, the Gran Canaria Philharmonic, the Moscow Philharmonic Orchestra, the Philharmonic of Buenos Aires, the San Diego Symphony, the Vancouver Symphony, the Hollywood Bowl Orchestra, the New Jersey Symphony, the Melbourne Symphony, the Sydney Symphony, the Adelaide Symphony, the Queensland Symphony, the Perth Symphony and the Auckland and New Zealand Symphonies. Since 2004 he has been the Principal Guest Conductor of the Czech National Symphony Orchestra of Prague.
Get this free download from Classicsonline! Bellini: La Sonnambula: Scena ed Aria - Reggimi, o buona madre Copy this Promotion Code NaxsoYb00wS5 and go to http://www.classicsonline.com/mpkey/bel35_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”.
8.660222-23 8 NAXOS NAXOS One of Donizetti’s most emotionally raw operas, Roberto Devereux ossia Il conte di Essex was also the third to be loosely based on episodes in the life of Queen Elizabeth I. It deals with the love of Elizabeth and her favourite, the Earl of Essex, perhaps most tellingly expressed in the Act I duet, Nascondi, frena i palpiti, o misero mio core / Hide, hold back your palpitation, oh my wretched heart! Elizabeth’s subsequent abdication is, however, a matter of dramatic 8.660222-23 DONIZETTI: DONIZETTI: licence, yet provides a memorable operatic conclusion to this tragedy of love and jealousy as she despairs at the death of her lover – Quel sangue versato al ciel s’innalza (The blood that DDD is spilt rises up to Heaven). This inaugural production of the Bergamo Music Festival 2006 features the Greek soprano and leading Donizetti specialist, Dimitra Theodossiou, and the Playing Time young American baritone Andrew Schroeder, both in superb voice. 127:18 Gaetano Roberto DevereuxRoberto Roberto DevereuxRoberto DONIZETTI (1797–1848) Roberto Devereux Elizabeth, Queen of England ...... Dimitra Theodossiou The Duke of Nottingham ...... Andrew Schroeder Sara, Duchess of Nottingham ...... Federica Bragaglia Printed & Assembled in USA Disc Made in Canada Booklet notes and synopsis in English Ltd. Naxos Rights International Robert Devereux, Earl of Essex ...... Massimiliano Pisapia www.naxos.com ൿ &
Lord Cecil ...... Luigi Albani Ꭿ
Sir Walter Raleigh ...... Giorgio Valerio 2008 A Page / A Servant ...... Tommaso Norelli Orchestra and Chorus of the Bergamo Musica Festival Marcello Rota Chorus Master: Corrado Casati C CD 1 1–$ Act 1 54:39 • CD 2 1–5 Act 2 / 6–% Act 3 72:39 8.660222-23 8.660222-23 A full track list can be found on pages 3–4 of the booklet M The Italian libretto may be accessed at www.naxos.com/libretti/660222.htm Includes Free Downloadable Bonus Track (Bellini: La Sonnambula: Scena ed Aria – Reggimi, o buona madre) available at www.classicsonline.com. Please see booklet for full details. Y Recorded live at the Teatro Donizetti, Bergamo, Italy, September 2006 • Booklet notes: Richard Lawrence Producer: Alberto Dellepiane • Engineer: Rino Trasi • Cover image from photos © Photo Studio U.V. K This recording is also available on Naxos DVD 2.110232