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Download Booklet THOMAS ALLEN BOOK COVER.qxd 12/9/06 4:11 pm Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3118 CHANDOS O PERA IN ENGLISH PETER MOORES FOUNDATION CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 2 Catherine Ashmore Great Operatic Arias with Sir Thomas Allen Sir Thomas Allen as Don Alfonso in The Royal Opera’s production of Mozart’s Così fan tutte 3 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 4 Sir Thomas Allen as Wolfram in Sir Thomas Allen in the title role Reg Wilson Reg The Royal Opera’s production Barda Clive of English National Opera’s of Wagner’s Tannhäuser production of Britten’s Billy Budd 4 5 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 6 Time Page Time Page Charles-François Gounod (1818–1893) Pyotr Ilyich Tchaikovsky (1840–1893) from Faust from The Queen of Spades Valentin’s Aria (Avant de quitter ces lieux) Yeletsky’s Aria 1 ‘Even bravest heart may swell’ 3:23 [p. 56] 5 ‘You seem unhappy, my beloved’ 4:59 [p. 58] Gioachino Rossini (1792–1868) Ambroise Thomas (1811–1896) from The Barber of Seville from Hamlet Figaro’s Cavatina (Largo al factotum) Drinking Song 6 2 ‘I am the barber everyone wants, I am!’ 4:45 [p. 56] ‘Oh wine, deliver me from sadness’ 4:13 [p. 58] with Geoffrey Mitchell Choir Wolfgang Amadeus Mozart (1756–1791) Giuseppe Verdi (1813–1901) from The Marriage of Figaro from Luisa Miller Count Almaviva’s Recitative and Aria (Vedrò mentr’io sospiro) Miller’s Scena and Aria (Sacra la scelta) 3 ‘“You’ve won the case already”’ – 7 ‘Stop! You shall listen’ – ‘Must I be made to suffer’ 4:42 [p. 57] ‘Marriage is sacred’ – ‘I was right to be so suspicious’ 8:05 [p. 59] Richard Wagner (1813–1883) with Brindley Sherratt bass from Tannhäuser Wolfram’s Aria (Wie Todesahnung) Richard Wagner 4 ‘With dark foreboding twilight casts her shadows’ 4:47 [p. 57] from Tannhäuser Wolfram’s Aria (Blick’ ich umher) 8 ‘Turning my gaze upon this proud assembly’ 4:58 [p. 60] 6 7 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 8 Time Page Time Page Georges Bizet (1838–1875) Richard Rodgers (1902–1979) from The Pearl Fishers from Carousel Zurga’s Recitative and Aria (L’orage s’est calmé) Billy Bigelow’s Soliloquy 9 ‘The storm has died away’ 6:26 [p. 61] 13 ‘I wonder what he’ll think of me!’ 7:11 [p. 65] Benjamin Britten (1913–1976) Erich Wolfgang Korngold (1897–1957) from Billy Budd from Die tote Stadt (The Dead City) Billy in the Darbies Fritz’s Song (Mein Sehnen) 10 ‘Look! Through the port comes the moonshine astray’ 5:36 [p. 61] 14 ‘In visions, illusions’ 3:49 [p. 67] with Geoffrey Mitchell Choir Johann Strauss II (1825–1899) TT 72:35 from Die Fledermaus (The Bat) Watch Duet London Philharmonic Orchestra 11 ‘Though I’m somewhat out of practice’ 4:48 [p. 62] Gareth Hancock assistant conductor with Janice Watson soprano David Parry Franz Lehár (1870–1948) from The Merry Widow Cavalryman Duet 12 ‘Hello, here’s a soldier bold’ 3:32 [p. 64] with Janice Watson soprano 8 9 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 10 Sir Thomas Allen – or as he is known and loved world-wide, Tom Allen – relishes the English language; his ability to use it to Catherine Ashmore express every nuance of thought and York New Christie’s, emotion in a song is legendary, and exemplary. I am delighted that we have been able to record with him operatic pieces of his choice. Here he is in some of his best- known roles – and in some surprises – all of them demonstrating the power of communication through a language understood. Enjoy! Sir Thomas Allen in the title role of The Royal Opera’s January 2005 production of Mozart’s Don Giovanni Sir Peter Moores examining an archaic Chinese bronze from the collection at Compton Verney 11 10 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 12 was a late addition to the text of Faust as we to project words at high speed. It also tells you Great Operatic Arias know it today. Gounod was delighted that the about the character: for all the pleasure of great English baritone Charles Santley had being so much in demand as a barber– Sir Thomas Allen is well on the way to Monteverdi to Sondheim, via Verdi (a agreed to sing Valentin in the first British surgeon, the way the pace relaxes and Figaro becoming a national treasure, if Alan Bennett memorable Germont), Wagner (for me the performance of his opera, and recognised that relishes the words tells you that it is his hasn’t already taken out copyright on that Beckmesser), Puccini (an ebullient Marcello, he should be rewarded with a solo aria – ‘introduction service’ that satisfies him most. term. He is a baritone admired and loved in an embarrassed Sharpless). That is not to Valentin has none in the original. So the A pimp, in other words. equal measure. He is admired for the beauty of mention Pelléas, Onegin, Billy Budd, and the glorious tune from the prelude was given Mozart’s furious aria for Count Almaviva in his voice, for the – one is tempted to say Forester in The Cunning Little Vixen, all of words by the opera’s translator, the critic The Marriage of Figaro (track 3 ) is triggered unique, certainly as regards legato – quality of them amongst his great roles. And there was Henry Chorley; it was then back-translated by an overheard remark, Susanna’s ‘You’ve won his musicianship, and for the insight-via-music one unforgettable outing as Busoni’s Doktor into French for performances in France (‘Avant the case already’ to her betrothed. The case he brings to everything he does whether on Faust. Should he ever consider giving up de quitter ces lieux’). About to leave for the that the Count is about to hear concerns stage or in the concert hall. And he is loved for singing – heaven forbid – he could walk across wars, Valentin entrusts his beloved sister Figaro’s outstanding debt to Marcellina, a debt his generosity of spirit (not, perhaps, a quality the Thames and find work at the National Marguerite to God’s care. The aria replaces a that if it is not repaid will force him to marry always associated with opera singers), his Theatre: his skill as an actor has always been duet for the two of them that the original the no-longer-young housekeeper. This would sunny, down-to-earth nature, his wicked sense central to his success. Marguerite, Marie Miohlan, declined to sing, delight the Count, who lusts after Susanna of humour and his sheer professionalism. And then there’s the words. This disc is in preferring to make her first entrance later in himself. So jealousy plays its part in the aria, Over a long, happily still burgeoning, career English, but whatever language he sings, the act. We may have more regard for as well as the challenge to his seigneurial he has carved benchmarks on certain operatic whether Russian, French or Moravian, words composer’s wishes nowadays, but there is no authority. Mozart rewrote the second part of roles. He was for long the Don Giovanni of the are an indissoluble component in the musical chance of baritones surrendering what has the aria for the first performances in Vienna in day, world-wide, in collaboration with such line. He sings Italian recitative more fluently, become a staple of the operatic and concert 1789, a version only recently rediscovered and great directors as Peter Hall and Giorgio more meaningfully than almost anyone, which repertoire in the interests of authenticity. one that takes the baritone almost into the Strehler. Has there been a funnier, more rueful is not surprising given that he chose to sit at Figaro’s entrance aria from The Barber of tenor register. This, the version sung here, Papageno, a more charmingly fatuous yet the feet of Sesto Bruscantini. He writes books, Seville (track 2 ) must be one of the most holds no terrors for Sir Thomas. dangerous Count in Figaro, a more he has just directed his first opera, Albert famous of all virtuoso showpieces for baritone: Amongst much else, there is an eternal manipulative Don Alfonso? That’s just Mozart. Herring, and directed it extremely well. The even people who have never set foot in an triangle at the centre of Wagner’s Tannhäuser: One of the most striking things about him is man is indecently gifted. Enough, let what opera house recognise it. It is also one of the Wolfram loves Elisabeth as much as does his versatility, a versatility happily reflected in follows speak for itself. most technically demanding, requiring agility, Tannhäuser, but realises early in the second act this recital disc: he sings everything from ‘Even bravest heart may swell’ (track 1 ) untold reserves of breath control, and ability that his suit is hopeless. Hence the chaste 12 13 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 14 purity of his vision, a purity much mocked by indeed one Sir Thomas’s earliest and greatest outpouring of love for his child. As the action Britten’s Billy Budd is another of his more worldly friend, when he is asked to successes. The (at first sight) surprisingly unfolds this mutual love leads to Luisa’s Sir Thomas’s great roles.
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