IN PERA O ENGLISH CHANDOS OORES FOUNDATION M PETER GREAT OPERATIC ARIAS OPERATIC GREAT

GREAT OPERATIC ARIAS CHAN 3118 THOMAS ALLEN BOOK COVER.qxd 12/9/06 4:11 pm Page 1 4:11 pm 12/9/06 BOOK COVER.qxd ALLEN THOMAS 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

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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

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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]

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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

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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

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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. Few have matched describe the nature of love in the singing hearty drinking song (track 6 ), or ‘Chanson renunciation of Rodolfo and to her death. the wholesomeness, the lack of affectation, the competition (‘Turning my gaze’, track 8 ). Bacchique’, comes as prelude to the Players At the centre of Bizet’s Pearl Fishers there is simplicity of his impersonation of a character In the third act Wolfram understands that Scene, and shows Hamlet psyching himself another eternal triangle. Nadir and Zurga, that can turn sickly or even sentimental. Elisabeth hopes to win redemption for and the actors up for the drama with which he friends since childhood, both fell in love with Simple virtue is the hardest quality of all to Tannhäuser through her own death, and he hopes to ‘catch the conscience of the king’. In the priestess Leila. Rather than imperil their portray on stage. And few have sung the role prays to the evening star (With dark its unbridled frenzy and the introspective friendship, they swore to renounce her and with such insight, such scrupulous foreboding’, track 4 ) to guide her soul to middle section it also suggests the madness never seek to see her again. Zurga has musicianship. The protagonist’s final solo, eternal light. The fact that the evening star is forever threatening the man’s equilibrium. meanwhile been elected chief of the fishing ‘Billy in the Darbies’, (track 10 ), finds him also Venus is one of the many mysteries in Father–daughter relationships are a village, and the heavily veiled priestess hired to chained below decks awaiting his execution. Wagner’s troublesome masterpiece. recurrent motif, almost an idée-fixe, in the bless their endeavours is, astonishingly, Leila. He calmly accepts his death for a crime – There is also an element of chaste purity in operas of Verdi, and none is more affecting It emerges that she and Nadir have been striking and accidentally killing a superior Prince Yeletsky’s aria from The Queen of than the one in Luisa Miller, based on meeting secretly for some time, and when they officer – of which he, and the crew, not to Spades (track 5 ). Sensing that something is Schiller’s ‘bourgeois tragedy’ Kabale und Liebe. do so again they are caught. In jealous fury, mention every member of the audience, knows troubling Lisa, the girl to whom he has just Miller, a retired soldier and a widower, is and at the height of a tropical storm, Zurga him to be innocent. So does Captain Vere, become engaged, he sings of his dog-like fiercely protective of Luisa, his only child, and condemns them both to death. In his solo who for motives nigh-impossible to fathom, devotion to her, of the undemanding nature of tolerant of her betrothal to a stranger in the scene ‘The storm has died away’ (track 9 ) he certainly in terms of 1951, decides to play by his love. Sadly, the feelings drawn in village. In this scene from the first act the gives way to remorse over the rage that made the book. Opera is full of scenes in which Tchaikovsky’s long legato lines are misdirected. villainous and aptly-named Wurm reminds him order their deaths, thinks it inconceivable characters prepare to face death. There are The last thing this highly-strung young him that he once promised him her hand in that Nadir could have broken his word, and precious few that approach the dramatic and woman wants is passive emotion: she is already marriage, but that she refused; as a father regrets the jealousy that led him to condemn human truth of this one. in thrall to the fascinatingly daemonic Miller could force her. This prompts the first Leila as well. The librettists Carré and From the sublime to the – well, hugely Herman and is soon to be driven by him to part of Miller’s aria (track 7 ): marriage is Cormon said that if they had known what a entertaining. Sir Thomas has long been a her death. sacred and a father is like God, kind and never great composer Bizet was they would not have friend of the lighter muse, not least in his Ambroise Thomas’s Hamlet is a far better harsh. Wurm then reveals that the stranger is saddled him with this ‘ours infâme’, this singing of folk and popular songs. He has opera than its reputation would allow. Apart in fact Rodolfo, son of Count Walter, his lord ‘clumsy bear’ of a libretto. Here is one of the sung both Strauss’s Eisenstein and Lehár’s from anything else, all baritones worth their and master. Miller explodes in fury at this many instances in which Bizet’s genius easily Count Danilo on stage, and sung them salt queue up to sing the title role, and it was deception, his anger mingled with a further transcends their efforts. memorably. The lightest of music repays

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artistry of this stature. The ‘Watch Duet’ from ‘Soliloquy’ (track 13 ) comes just after he has wonderfully nostalgic tune, with off-stage roles of Count Almaviva, Don Alfonso, Die Fledermaus (The Bat, track 11 ) is one of heard that his wife Julie is pregnant, and he sopranos anticipating the composer’s Papageno, Guglielmo and, of course, Don operetta’s most delirious moments. Randy imagines what his son will be like: for the subsequent career in Hollywood. Giovanni. His recent engagements have husband lays siege to a masked beauty who is, most part a chip off the old block. Then, included Eisenstein (Die Fledermaus), Don inevitably, his wife Rosalinde. He brings into moment of horror, what if it’s a girl? © 2005 Rodney Milnes Alfonso, Ulisse and Don Giovanni at the play his repeating watch, a fail-safe prop in ‘Heartbroken’ says the stage direction. But Bayerische Staatsoper; Yeletsky (Pique Dame), earlier seductions, but for once it fails and horror gives way to a vision of near-Verdian Born in Seaham, Sharpless (Madama Butterfly) and the title role Rosalinde pockets it, or rather conceals it in love and protectiveness. Of course it is a girl, County Durham, in Sweeney Todd at the Royal Opera House; her cleavage. It will be a prop of quite another and the scene between her and the revenant Sir Thomas Allen Eisenstein at the Glyndebourne Festival; Don kind in Eisenstein’s unmasking in the last act, Billy is one of the most affecting in the annals Ahlberg Sussie made his professional Alfonso at the Salzburg Easter and Summer and it is a close-run thing that Rosalinde’s of Broadway. debut with Welsh Festivals; Forester (The Cunning Little Vixen) adulterous intentions are not unmasked as well Korngold’s dreamlike, ‘divinely decadent’ National Opera and is at the San Francisco Opera; and Beckmesser at via that other prop, Eisenstein’s dressing gown. Die tote Stadt was one of the most successful now an established the Metropolitan Opera in New York. Die Fledermaus, as well as being one of the new operas of its day (1920) and is now star of the great opera Equally renowned on the concert platform, greatest of operatic comedies, is about pretty enjoying something of a revival. Paul, the houses of the world. he appears in recital in the United Kingdom, mucky people. By contrast, Danilo and Hanna protagonist, has turned his house in Bruges, At the Royal Opera House, Covent Garden, throughout Europe, in Australia and America, in The Merry Widow are models of romantic the dead city of the title, into a shrine in where in 2001 he celebrated the thirtieth and has appeared with the world’s great virtue: they have been in love since long before memory of his late wife, Marie. He encounters anniversary of his debut with the company, he orchestras and conductors. The larger part of the curtain rises, and the action is concerned a singer, Marietta, who is the spitting image has sung over forty roles. In 2001, he also his repertoire has been extensively recorded with tricking, or forcing him into admitting of her and in the second act watches her and celebrated the twentieth anniversary of his with such distinguished names as Georg Solti, the fact. The ‘Cavalryman Duet’, (track 12 ), is her thespian friends entertaining themselves debut at the Metropolitan Opera, New York. James Levine, Neville Marriner, Bernard one of many musical skirmishes between the by a canal. The Pierrot character is asked for He is an acclaimed artist of the Lyric Opera of Haitink, Sir Simon Rattle, Wolfgang pair of them, a skirmish in which he has got a song, and sings ‘In visions, illusions’, Chicago, San Francisco Opera and Los Sawallisch and Riccardo Muti. his military manoeuvres all wrong. (track 14 ), one of Korngold’s most seductive Angeles Opera; the Bayerische Staatsoper in Thomas Allen’s first book, Foreign Parts – And Broadway musicals as well. Carousel’s melodies. At first it seems like a mere Munich and La Scala, Milan, as well as both A Singer’s Journal was published in 1993 and Billy Bigelow is, sadly, a role that Sir Thomas divertissement in the main, morbid plot, but the Salzburg and Glyndebourne Festivals. he recently made a triumphant directing debut has not done on stage (there was talk of it since it is about the charm, and the danger, of He has been particularly acclaimed for his with Albert Herring at the Royal College of some years ago) though he has recorded living in the past, it can be seen as central to Billy Budd, Pelléas, Eugene Onegin, Ulisse Music. His many honours include the title of substantial extracts, and here is another. Billy’s the opera’s action. Either way, it is a and Beckmesser, as well as the great Mozart Bayerischer Kammersänger awarded by the

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Bayerische Staatsoper, Honorary Membership Mitchell Choir has participated in numerous at Städtische Bühnen, Carmen, and in Mexico with the UNAM of the Royal Academy of Music, Prince Consort recordings in the acclaimed Opera in English Dortmund and at Symphony Orchestra. Recent new productions Professor of the Royal College of Music, the series sponsored by the Peter Moores Opera North. He was he has conducted include Fidelio at the New Hambro Visiting Professorship of Opera Foundation. Music Director of Zealand Festival, Lucia di Lammermoor at New Studies at Oxford University, Fellowship of Opera 80 from 1983 to Israeli Opera and Don Giovanni at Staatsoper Jesus College Oxford, Fellowship of the Royal The London Philharmonic Orchestra has a 1987 and since 1992 Hannover. College of Music, Fellowship of the University long-established reputation for its versatility has been the founding His work in the recording studio includes of Sunderland, M.A. from Newcastle University and artistic excellence. These traits are evident Music Director of the BBC Television production of Marschner’s and D.Mus. from Durham University. In the from its performances in the concert hall and Almeida Opera. Der Vampyr and more than thirty complete New Year’s Honours of 1989 he was created a opera house, its many award-winning He works extensively opera recordings under the sponsorship of the Commander of the British Empire and in the recordings, its trail-blazing international tours in both opera and Peter Moores Foundation. Among these are 1999 Queen’s Birthday Honours he was made a and its pioneering education work. Kurt concert, nationally and internationally. He has numerous discs for the Opera Rara label Knight Bachelor. Masur has been the Orchestra’s Principal conducted several productions at English which have won several awards, including the Conductor since September 2000. Previous National Opera and Opera North and appears Belgian Prix Cecilia for Donizetti’s Rosmonda Geoffrey Mitchell’s singing career has holders of this position, since its foundation in regularly with the Philharmonia and London d’Inghilterra. For Chandos he has conducted a encompassed a remarkably wide repertoire 1932 by Sir Thomas Beecham, have included Philharmonic Orchestras. In 1996 he made his series of recitals of operatic arias – with Bruce from early to contemporary music and has Sir Adrian Boult, Sir John Pritchard, Bernard debut at the Glyndebourne Festival conducting Ford, Diana Montague, Dennis O’Neill, taken him to Scandinavia, Germany, the Haitink, Sir Georg Solti, Klaus Tennstedt and Così fan tutte, following it in 1998 with the Alastair Miles, Yvonne Kenny, John former Czechoslovakia, Canada and Franz Welser-Möst. Since 1992 the London world premiere of Jonathan Dove’s Flight. Tomlinson, Della Jones and Andrew Shore – Australasia. Early conducting experience with Philharmonic Orchestra has been Resident He is a frequent visitor to Spain where he as well as The Flying Dutchman, The Marriage the BBC led to a wider involvement with his Symphony Orchestra at the Royal Festival has given concerts with most of the major of Figaro, A Masked Ball, Idomeneo, Carmen, own singers and in turn to the establishment Hall. It has also been Resident Symphony Spanish orchestras. He conducted the Spanish The Thieving Magpie, Don Giovanni, Don of the Geoffrey Mitchell Choir. Early Orchestra at Glyndebourne Festival Opera premiere of Peter Grimes in Madrid and in Pasquale, The Elixir of Love, Lucia of recordings resulted in the Choir’s long-term since 1964. 1996 the first Spanish production of Lammermoor, Ernani, Il trovatore, Aida, Faust, involvement with Opera Rara for which it has The Rake’s Progress. He has appeared in Cavalleria rusticana, Pagliacci, La bohème, made over thirty recordings. The Choir is David Parry studied with Sergiu Celibidache Germany, Switzerland, and The Netherlands, Turandot, the award-winning Tosca and enjoying a growing reputation with further and began his career as Sir John Pritchard’s at the Pesaro Festival in Italy, the Hong Kong highlights from Der Rosenkavalier, all in work from the BBC and international record assistant. He made his debut with English International Festival, in Japan with a tour of association with the Peter Moores Foundation. companies. For Chandos the Geoffrey Music Theatre, then became a staff conductor

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British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 of a Faculty Directorship and Chair of Undergraduate Management Studies at Oxford to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust University (providing the lead donation which paved the way for the development of the in 1993 to create a new art gallery in the country. Through his charities he has disbursed Said Business School). more than £93 million to a wide variety of arts, environmental and social causes ‘to get things done and open doors for people’. In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- number of young artists in the crucial, early stages of their careers, several of whom – class art gallery that would provide an especially welcoming environment for the ‘first-time’ Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all became world-famous. ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk Today, the Peter Moores Foundation supports talented young singers with annual scholarships awarded through the Royal Northern College of Music, has made it possible Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, for Chandos Records to issue the world’s largest catalogue of operas recorded in English Oxford. He was a student at the Vienna Academy of Music, where he produced the translation, and enabled Opera Rara to record rare bel canto repertoire which would Austrian premiere of Benjamin Britten’s The Rape of Lucretia, and worked as an assistant otherwise remain inaccessible to the general public. producer with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in In live performance, the Foundation has encouraged the creation of new work and 1976, Chairman from 1977 to 1980 and remained a director until 1993. schemes to attract new audiences, financed the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ companies and festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment his charitable services to the arts.

20 21 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 22 Clive Barda Clive Winnie KlotzWinnie /The NY Opera, Metropolitan

Sir Thomas Allen as Eisenstein, with Barbara Daniels as Rosalinde, in Sir Thomas Allen in the title The Metropolitan role of The Royal Opera’s Opera’s production production of Tchaikovksy’s of Johann Strauss’s Eugene Onegin Die Fledermaus

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wie kaum ein anderer, was vielleicht nicht Komponisten eher, aber es ist unvorstellbar, Große Opernarien überrascht, wenn man sich daran erinnert, dass ein Bariton diese Arie, die inzwischen dass er bei Sesto Bruscantini studierte. Er zum Grundstock des Opern- und Sir Thomas Allen ist auf dem besten Wege mit Mozart zu beginnen. Eines seiner schreibt Bücher und hat gerade ungemein Konzertrepertoires gehört, im Interesse der dahin, zu einem nationalen Kleinod in markantesten Merkmale ist seine Vielseitigkeit, überzeugend mit Albert Herring als Regisseur Authentizität wieder aufgeben würde. England erklärt zu werden. Er wird als Bariton die auf dieser CD fabelhaft zum Ausdruck debütiert. Der Mann ist unverschämt begabt. Figaros Einstandsarie aus Il barbiere di gleichermaßen bewundert und liebevoll kommt: Er singt alles – von Monteverdi bis Aber damit genug. Lassen wir das Folgende für Siviglia (Band 2 ) gehört zu den verehrt. Bewunderung findet er mit der Sondheim, über Verdi (unvergesslich als sich sprechen. berühmtesten aller Glanzarien für Bariton: Schönheit seiner Stimme, mit seiner – man Germont), Wagner (für meine Begriffe der “Even bravest heart may swell” (Band 1 ) Selbst wer noch nie Fuß in ein Opernhaus möchte, gewiss im Hinblick auf sein Legato, Beckmesser schlechthin), Puccini (ein war eine späte Ergänzung zum Text der Oper gesetzt hat, kennt diese Nummer. Sie stellt fast sagen: einzigartigen – Musikalität und mit ausgelassener Marcello, ein verlegener Faust, wie wir sie heute kennen. Gounod war auch höchste technische Anforderungen an seinem durch die Musik entwickelten Sharpless). Ganz zu schweigen von Pelléas, so erfreut darüber, dass der berühmte englische den Sänger: Beweglichkeit, unerhörte Einfühlungsvermögen, das alle seine Bühnen– Onegin, Billy Budd und dem Förster in Das Bariton Charles Santley in der britischen Atemkontrolle und die Fähigkeit, mit höchster und Konzertauftritte prägt. Geliebt wird er für schlaue Füchslein, die allesamt zu seinen Erstaufführung die Rolle des Valentin singen Geschwindigkeit zu artikulieren. Überdies seine Großzügigkeit (vielleicht nicht immer großen Rollen zählen. Unvergesslich war er bei wollte, dass er sich mit einer Soloarie bedankte offenbart sie den Charakter der Figur, denn ein Charakterzug, den man mit Opernsängern einer Gelegenheit auch als Busonis Doktor – in der Originalversion ist Valentin kein Solo bei aller Genugtuung darüber, als Barbier von verbinden würde), sein heiteres, nüchternes Faust. Sollte er jemals – Gott bewahre! – das beschert. Der herrlichen Melodie aus dem Kunden umringt zu sein, erfahren wir aus dem Wesen, seinen beißenden Humor und seinen Singen aufgeben wollen, könnte er am Vorspiel gab deshalb der Übersetzer des Maß der Entspannung und dem auskostenden puren Professionalismus. anderen Themse-Ufer eine neue Heimat im Librettos, der Kritiker Henry Chorley, einen Ton Figaros, dass ihm seine “ersten Dienste” Im Laufe seiner langen, seligerweise immer National Theatre finden, denn sein Text, der dann für spätere Aufführungen in die größte Freude bereiten. Mit anderen noch blühenden Karriere hat er Meilensteine schauspielerisches Können ist von je her ein Frankreich rückübersetzt wurde (“Avant de Worten: Er ist ein Zuhälter. mit einigen Rollen gesetzt. Lange galt er Kernelement seines Erfolgs gewesen. quitter ces lieux”). Valentin steht im Begriff, in Der Auslöser für die furiose Arie des Grafen weltweit als der Don Giovanni seiner Zeit, in Den Text dürfen wir nämlich nicht den Krieg zu ziehen, und vertraut seine Almaviva in Mozarts Le nozze di Figaro Zusammenarbeit mit solch berühmten vergessen. Die Arien auf dieser CD singt er in geliebte Schwester Marguerite der Obhut (Band 3 ) ist eine von ihm überhörte Regisseuren wie Peter Hall und Giorgio englischer Sprache, aber es könnten auch Gottes an. Die Arie tritt an die Stelle eines Bemerkung Susannas, die ihrem Verlobten Strehler. Hat es je einen komischeren, russische, französische oder tschechische Duetts, das die erste Marguerite, Marie mitteilt, er habe den Fall bereits gewonnen. reuigeren Papageno gegeben, einen charmanter Zeilen sein – Wort und Musik sind bei ihm Miohlan, nicht singen mochte; sie zog es vor, Besagter Fall ist eine offene Schuld Figaros törichten und doch gefährlichen Almaviva, untrennbar miteinander verbunden. Er singt die Bühne später zu betreten. Heutzutage gegenüber Marcellina; sollte er sie nicht einen manipulativeren Don Alfonso? Um nur italienische Rezitative so flüssig und mitteilsam respektieren wir vielleicht die Wünsche eines begleichen, hat er die nicht mehr ganz so

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junge Haushälterin zu ehelichen. Das wäre Ein Element keuscher Reinheit tritt auch in Vater–Tochter-Beziehungen sind ein ständig Freundschaft nicht zu gefährden, haben sie dem Grafen, der selbst ein Auge auf Susanna der Arie des Fürsten Jeletzki aus Pique Dame wiederkehrendes Motiv, fast eine fixe Idee, in sich gegenseitig geschworen, nie mehr um das geworfen hat, sehr lieb. Eifersucht spielt also (Band 5 ) auf. Lisa, seine frischgebackene den Opern Verdis, und nirgendwo ist es Mädchen zu werben. Zurga ist inzwischen eine wichtige Rolle in dieser Arie, ebenso wie Verlobte, ist offenkundig bedrückt, und so ergreifender ausgearbeitet als in Luisa Miller, Vorsteher seines Fischerdorfes, und um für die der Angriff auf seine gräfliche Autorität. besingt er seine bedingungslose Verehrung für nach Schillers bürgerlichem Trauerspiel Kabale Perlenfischer zu beten, erscheint eine Mozart nahm im zweiten Teil der Arie für die sie, die Anspruchslosigkeit seiner Liebe. Leider und Liebe. Miller, ein verwitweter Soldat im verschleierte Priesterin, die sich als Leila Uraufführungsserie in Wien 1789 noch einmal sind die in den langen Legato-Phrasen Ruhestand, hängt an Luisa, seinem einzigen erweist. Bereits seit geraumer Zeit hat sie sich Änderungen vor; diese erst kürzlich Tschaikowskis zum Ausdruck kommenden Kind, duldet aber ihre Verlobung mit einem mit Nadir insgeheim getroffen, und nun wiederentdeckte Version hebt die Baritonlinie Gefühle fehl am Platz. Passive Emotionen sind Dorffremden. In dieser Szene aus dem ersten werden sie beiner weiteren Gelegenheit fast auf Tenorebene an. Solche Schwierigkeiten das letzte, was diese nervöse junge Frau Akt wird er von dem schurkischen, trefflich überrascht. In eifersüchtigem Zorn, auf der können Sir Thomas nicht abschrecken. braucht: Sie ist bereits dem faszinierend benannten Wurm daran erinnert, dass ihm Höhe eines Tropensturms, verurteilt Zurga die Neben vielem anderen dreht sich Wagners dämonischen Hermann verfallen, der sie bald selber ihre Hand versprochen worden sei, sie beiden zum Tode. In der Soloarie “The storm Tannhäuser um ein Dreiecksverhältnis: in den Tod treiben wird. aber abgelehnt habe; als Vater könne Miller has died away” (Band 9 ) ist seine Wut Wolfram ist ebenso wie Tannhäuser Die Shakespeare-Vertonung Hamlet von ihre Einwilligung erzwingen. Darauf erwidert gewichen; er kann sich nicht vorstellen, dass leidenschaftlich in Elisabeth verliebt, erkennt Ambroise Thomas ist besser als ihr Ruf. Wer Miller im ersten Teil seiner Arie (Band 7 ): Nadir sein Wort gebrochen haben sollte, und jedoch im zweiten Akt die Aussichtslosigkeit als Bariton etwas auf sich hält, reißt sich um Die Ehe ist heilig, und ein Vater ist wie Gott, er bereut die Eifersucht, in der er auch Leila seines Werbens. So erklärt sich seine keusche die Titelrolle, und sie war auch einer der ersten gnädig und nie streng. Wurm verrät nun, dass verurteilt hat. Die Librettisten Carré und Vorstellung von der reinen Liebe, die sein und größten Erfolge von Sir Thomas. Das der Fremde kein anderer ist als Rodolfo, Sohn Cormon werden mit der Bemerkung zitiert, weltgewandterer Freund mit viel Spott zunächst überraschend herzhaft scheinende des Conte di Walter. Miller ist angesichts dass sie – wenn sie gewusst hätten, was für ein überhäuft, als dieser im Sängerkrieg das Wesen Trinklied (Band 6 ) oder “Chanson dieser Täuschung außer sich, und sein Zorn großartiger Komponist Bizet war – ihm nie der Liebe beschreiben soll (“Turning my gaze”, Bacchique” kommt als Vorspiel zur verbindet sich mit neuerlichen Bekundungen diesen “ours infâme”, diesen “klobigen Bär” (Band 8 )). Im dritten Akt begreift Wolfram, Schauspielerszene und stellt dar, wie Hamlet seiner väterlichen Zuneigung. Diese enge von einem Libretto aufgehalst hätten. Hier dass Elisabeth hofft, Tannhäuser durch ihren sich und die anderen Akteure auf das Bindung führt letztlich dazu, dass Luisa von haben wir einen der Augenblicke, in denen das eigenen Tod zu erlösen, und er fleht den bevorstehende Drama vorbereitet, mit dem er Wurm zum Verzicht auf Rodolfo genötigt und Genie Bizets die Vorlage mühelos überwindet. Abendstern an (“With dark foreboding”, hofft, das Gewissen des Königs zu wecken. in den Tod getrieben wird. Brittens Billy Budd ist eine weitere (Band 4 )), ihre Seele zum ewigen Licht zu Mit seiner fieberhaften Raserei und dem Ein Dreiecksverhältnis steht auch im Glanzrolle von Sir Thomas. Wenige haben geleiten. Dass der Abendstern auch Venus ist, introvertierten Mittelabschnitt lässt es auch Mittelpunkt von Bizets Les Pêcheurs de seine Glaubhaftigkeit erreicht, den Mangel an gehört zu den vielen rätselhaften Umständen den Wahnsinn erkennen, der das seelische perles. Die Jungendfreunde Nadir und Zurga Verstellung, die Schlichtheit seines in Wagners problematischem Meisterwerk. Gleichgewicht des Mannes bedroht. sind beide in Leila verliebt. Um ihre Charakterporträts, das leicht in Rührseligkeit

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oder gar Schmalz ausarten könnte. Einfache schönster Blüte. Das “Uhrenduett” aus Broadway-Musicals nicht zu vergessen. Sängerin Marietta, die Marie täuschend Tugend gehört zu den Eigenschaften, die auf Die Fledermaus (Band 11 ) gehört zu den Leider hat Sir Thomas nie Billy Bigelow in ähnlich sieht, und im zweiten Akt beobachtet der Bühne am schwersten zu vermitteln sind, glücklichsten Momenten der Operette. Ein einer Bühneninszenierung von Carousel er, wie sie und ihre Komödiantentruppe an und wenige haben die Rolle mit solchem abenteuerlustiger Gatte belagert eine maskierte verkörpert (obwohl vor einigen Jahren davon einem Kai tafeln. Der Pierrot wird um ein Einfühlungsvermögen, solcher Schönheit, bei der es sich – wie kann es anders die Rede war), doch hat er größere Auszüge Lied gebeten und singt “In visions, illusions” kompromisslosen Musikalität interpretiert. sein – um seine eigene Ehefrau Rosalinde auf Schallplatte aufgenommen, wie (Band 14 ), eine der verführerischsten Der Titelheld singt sein letztes Solo, “Billy in handelt. Er bringt seine Taschenuhr ins Spiel, beispielsweise diese Nummer. Billy singt sein Melodien Korngolds. Zunächst scheint dies the Darbies” (Band 10 ), in Ketten geschlagen ein bewährte Requisite aus früheren “Soliloquy” (Band 13 ), nachdem er erfahren nur eine Ablenkung von der morbiden unter Deck, wo er seiner Hinrichtung harrt. Eroberungen, aber diesmal versagt die Taktik, hat, dass seine Frau Julie ihm ein Kind Haupthandlung zu sein, doch da es hier um Mit Fassung akzeptiert er die Todesstrafe für und Rosalinde bringt die Uhr an sich, besser bescheren wird, und er malt sich aus, dass der den Reiz und die Gefahren der ein Verbrechen – Angriff mit Totschlag auf gesagt: Sie lässt sie in ihrem Dekolleté Stammhalter ganz wie der Vater ausfallen wird. Gegenwartsverdrängung geht, hat das Lied einen Offizier – dessen er, wie er selbst, die verschwinden. Eine Requisite ganz anderer Art Doch dann kommt ein ernüchternder eigentlich zentrale Bedeutung. So oder so ist es Besatzung und alle Zuschauer im Publikum spielt eine wichtige Rolle bei der Gedanke: Und wenn es ein Mädchen ist? eine wunderbar nostalgische Melodie, und die wissen, unschuldig ist. Auch Captain Vere Demaskierung Eisensteins im letzten Akt: sein “Todunglücklich” heißt es in den Sopranstimmen hinter den Kulissen sind weiß es, doch er beschließt aus Gründen, die Schlafrock, und Rosalindes ehebrecherische Regieanweisungen. Das erste Grausen weicht Vorboten der späteren Hollywood-Karriere des sicherlich im Rahmen des Entstehungsjahres Absichten hätten dabei sehr wohl ebenfalls einer Vorstellung von nahezu verdischer Liebe Komponisten. 1951 kaum fassbar sind, nach dem enthüllt werden können. Die Fledermaus ist und Beschützernatur. Natürlich bekommt er Buchstaben des Gesetzes vorzugehen. Die Welt nicht nur eine der größten eine Tochter, und die Szene zwischen ihr und © 2005 Rodney Milnes der Oper ist reich an Szenen der Operettenkomödien, sondern auch ein dem heimkehrenden Billy gehört zu den Übersetzung: Andreas Klatt Todesvorbereitung. Kaum eine kommt der schlüpfriges Sujet. Danilo und Hanna sind ergreifendsten Momenten in der Geschichte dramatischen und menschlichen Wahrheit so demgegenüber in Die lustige Witwe Muster des Broadway. Sir Thomas Allen wurde in Seaham (County nahe wie diese. an romantischer Tugend: Sie waren schon Korngolds traumhafte, “göttlich dekadente” Durham) geboren und gab sein Debüt als Von der Erhabenheit zur Unterhaltung. Sir ineinander verliebt, lange bevor der Vorhang Oper Die tote Stadt war eines der großen Berufssänger an der Welsh National Opera. Thomas ist seit langem als Freund der leichten sich hebt, und nun dreht sich alles darum, Erfolgswerke ihrer Zeit (1920) und gewinnt Heute ist er an allen großen Opernhäusern der Muse bekannt, nicht zuletzt durch seine wie man sie dazu bringen kann, dies auch mittlerweile wieder etwas von ihrem Status Welt etabliert. Alleine an der Royal Opera Volkslieder und Popularmusik. Sein Eisenstein einzugestehen. Das “Reitersmannduett” zurück. Der Protagonist Paul hat sein Haus in Covent Garden, wo er 2001 sein und sein Graf Danilo waren denkwürdige (Band 12 ) ist eines von vielen musikalischen Brügge, der besagten toten Stadt, in einen dreißigjähriges Jubiläum feierte, hat er mehr Bühnenereignisse. Auch die leichteste Musik Geplänkeln zwischen den beiden, bei dem ihm Schrein zum Gedenken an seine verstorbene als vierzig Rollen verkörpert. 2001 beging er kommt durch hohe Kunstfertigkeit zu alle militärischen Operationen misslingen. Frau Marie verwandelt. Er begegnet der auch sein zwanzigigjähriges Jubiläum an der

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Metropolitan Opera New York. Von der Lyric Sir Simon Rattle, Wolfgang Sawallisch und hatte, begann er mit eigenen Sängern zu aufgebaut wurde. Seit 1992 ist das London Opera of Chicago, San Francisco Opera und Riccardo Muti auf Schallplatte aufgenommen. arbeiten und gründete den Geoffrey Mitchell Philharmonic Orchestra das Gastsinfonie- Los Angeles Opera, der Bayerischen Staatsoper Thomas Allens erstes Buch, Foreign Parts – Choir. Aus ersten Aufnahmen entwickelte sich orchester der Royal Festival Hall und bereits und der Mailänder Scala, den Salzburger A Singer’s Journal, wurde 1993 veröffentlicht, eine langfristige Zusammenarbeit des Chors seit 1964 das Gastsinfonieorchester an der Festspielen und dem Glyndebourne Festival ist und mit Albert Herring hat er am Royal mit Opera Rara, für die er über dreißig Glyndebourne Festival Opera. er nicht fortzudenken. College of Music einen triumphalen Tonträger aufgenommen hat. Der Chor Besonders berühmt ist er für Leibrollen wie Einstand als Regisseur gefeiert. Neben vielen genießt wachsendes Ansehen und ist bei der David Parry hat bei Sergiu Celibidache Billy Budd, Pelléas, Eugen Onegin, Ulisse anderen Ehrungen trägt er den Titel eines BBC und internationalen Plattenfirmen studiert und seine berufliche Laufbahn als und Beckmesser sowie die großen Mozart- Bayerischen Kammersängers, er ist gefragt. Für Chandos hat der Geoffrey Assistent von Sir John Pritchard begonnen. Er Partien des Grafen Almaviva, Don Alfonso, Ehrenmitglied der Royal Academy of Music, Mitchell Choir an zahlreichen Aufnahmen der hat am English Music Theatre debütiert und Papageno, Guglielmo und natürlich Don Prince Consort Professor am Royal College of hervorragend kritisierten Reihe Opera in wurde dann Dirigent mit Festvertrag an den Giovanni. Unlängst war er u.a. Eisenstein Music, Hambro Gastprofessor für English unter der Schirmherrschaft der Peter Städtischen Bühnen Dortmund und an der (Die Fledermaus), Don Alfonso, Ulisse und Opernstudien an der Universität Oxford, Moores Foundation teilgenommen. Opera North. Von 1983 bis 1987 war er Don Giovanni an der Bayerischen Staatsoper, Fellow am Jesus College Oxford, am Royal Musikdirektor der Opera 80 und seit 1992 Jeletski (Pique Dame), Sharpless (Madama College of Music und an der Universität Das London Philharmonic Orchestra ist seit Gründungsmitglied und Direktor der Almeida Butterfly) und Sweeney Todd an der Royal Sunderland, Ehrenmagister der Universität langem als vielseitiges und künstlerisch Opera. Opera Covent Garden, Eisenstein beim Newcastle und Ehrendoktor der Universität herausragendes Orchester fest etabliert. Er übt in Großbritannien und international Glyndebourne Festival, Don Alfonso bei den Durham. 1989 erhielt er den britischen Bezeugt wird dies durch Konzert- und eine weitgespannte Tätigkeit in den Bereichen Salzburger Oster- und Sommerfestspielen, Verdienstorden CBE, und 1999 wurde er von Opernaufführungen, vielfach preisgekrönte Oper und Konzert aus, hat mehrere Förster (Das schlaue Füchslein) an der San Königin Elizabeth II. in den Adelsstand Schallplattenaufnahmen, bahnbrechende Produktionen der English National Opera und Francisco Opera und Beckmesser an der erhoben. internationale Gastspielreisen und der Opera North dirigiert und tritt regelmäßig Metropolitan Opera New York. wegbereitende pädagogische Arbeit. mit dem Philharmonia Orchestra und dem Als ebenso berühmter Konzertkünstler tritt Geoffrey Mitchells Gesangskarriere hat ihm Chefdirigent des Orchesters ist seit September London Philharmonic Orchestra auf. 1996 er regelmäßig in ganz Europa, Australien und ein bemerkenswert breitgefächertes Repertoire 2000 Kurt Masur. Er steht in einer langen gab er sein Debüt beim Glyndebourne Festival Amerika auf, gemeinsam mit den großen von der alten bis zur neuen Musik beschert Tradition, die seit der Gründung des mit Così fan tutte und hat dort 1998 die Orchestern und Dirigenten der Welt. Den und ihn nach Skandinavien, Deutschland, in Orchesters durch Sir Thomas Beecham im Uraufführung von Jonathan Doves Flight größten Teil seines Repertoires hat er mit die ehemalige Tschechoslowakei, nach Kanada Jahre 1932 durch Sir Adrian Boult, Sir John geleitet. Spitzendirigenten wie Georg Solti, James und Australasien geführt. Nachdem er bei der Pritchard, Bernard Haitink, Sir Georg Solti, Er ist häufig in Spanien zu Gast und hat Levine, Neville Marriner, Bernard Haitink, BBC erste Dirigiererfahrungen gesammelt Klaus Tennstedt und Franz Welser-Möst mit den meisten bedeutenden spanischen

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Orchestern Konzerte gegeben. In Madrid hat Foundation. Darunter befinden sich er die spanische Uraufführung von Peter zahlreiche Aufnahmen der Reihe Opera Rara,

Grimes dirigiert, und 1996 die erste spanische die mehrere Preise gewonnen haben, Barda Clive Inszenierung von The Rake’s Progress. Er ist in beispielsweise den belgischen Prix Cecilia für Deutschland, der Schweiz und den Donizettis Rosmonda d’Inghilterra. Für Niederlanden aufgetreten, bei den Festspielen Chandos hat er die Aufzeichnung einer in Pesaro, beim Hong Kong International Serie von Programmen mit Opernarien Festival, in Japan anläßlich einer Carmen- geleitet (mit Bruce Ford, Diana Montague, Tournee und in Mexiko mit dem UNAM Dennis O’Neill, Alastair Miles, Yvonne Kenny, Symphony Orchestra. Zu den John Tomlinson, Della Jones und Andrew Neuproduktionen, die er in letzter Zeit Shore), außerdem The Flying Dutchman, dirigiert hat, zählen Fidelio beim New Zealand The Marriage of Figaro, A Masked Ball, Festival, Lucia di Lammermoor an der New Idomeneo, Carmen, The Thieving Magpie, Israeli Opera und Don Giovanni an der Don Giovanni, Don Pasquale, The Elixir of Staatsoper Hannover. Love, Lucia of Lammermoor, Ernani, Seine Tätigkeit im Aufnahmestudio umfaßt Il trovatore, Aida, Faust, Cavalleria rusticana, die Produktion von Marschners Der Vampyr Pagliacci, La bohème, Turandot, die fürs BBC-Fernsehen und achtundzwanzig preisgekrönte Tosca und Highlights aus dem vollständige Opernaufzeichnungen unter der Rosenkavalier, jeweils in Zusammenarbeit mit Schirmherrschaft der Peter Moores der Peter Moores Foundation.

Sir Thomas Allen as Figaro in The Royal Opera’s production of Rossini’s The Barber of Seville

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opéra, Albert Herring, et d’une manière tout à Le premier air de Figaro dans Il barbiere di Grands airs d’opéra fait remarquable. L’homme est vraiment trop Siviglia (plage 2 ) est probablement l’un des doué. Mais c’est assez, laissons ce qui suit morceaux de bravoure pour baryton les plus Sir Thomas Allen pourrait bien devenir un plus frappant de Thomas Allen est l’éclectisme, parler pour soi-même. célèbres: même ceux qui n’ont jamais mis les trésor national en Angleterre. En effet, ce un éclectisme qui se révèle avec bonheur dans “Even bravest heart may swell” (plage 1 ) est pieds dans un théâtre lyrique le reconnaissent. baryton est admiré et aimé à part égale. Il est ce disque récital: il chante tout de Monteverdi une addition tardive au livret de Faust tel que C’est également l’un des plus difficiles sur le admiré pour la beauté de sa voix, pour la à Sondheim, en passant par Verdi (un nous le connaissons aujourd’hui. Gounod avait plan technique, exigeant une agilité parfaite, qualité de sa technique – que l’on est tenté de Germont mémorable), Wagner (pour moi le été enchanté que le grand baryton anglais un contrôle du souffle exceptionnel, et la qualifier d’unique, certainement en ce qui plus grand Beckmesser), Puccini (un Marcello Charles Santley accepte de chanter le rôle de capacité de projeter les paroles dans un concerne le legato – et pour la compréhension exubérant, un Sharpless embarrassé). On peut Valentin pour la première britannique de son mouvement très rapide. Il nous renseigne musicale qu’il apporte à tout ce qu’il fait, que encore ajouter Pelléas, Onéguine, Billy Budd opéra, et estima qu’il méritait d’être récompensé également sur le personnage: malgré tout le ce soit sur scène ou en concert. Et il est aimé et le Forestier dans Le Petite Renarde rusée, tous par un air – Valentin n’en a pas dans la version succès que lui apporte son état de chirurgien- pour sa générosité d’esprit (une qualité qui parmi ses grands rôles. Et on se rappellera une originale. Ainsi, le critique Henry Chorley, coiffeur, la manière dont le mouvement se n’est peut-être pas toujours associée aux excursion inoubliable dans le rôle du Doktor traducteur du livret, ajouta des paroles à la détend et dont Figaro savoure les paroles nous chanteurs d’opéra), pour son tempérament Faust de Busoni. S’il songeait à abandonner le magnifique mélodie du prélude; elles furent informe que c’est son “agence de rencontres” enjoué, les pieds sur terre, son humour chant – surtout pas! – il pourrait traverser la ensuite adaptées en français pour les qui lui donne le plus de satisfaction. Un malicieux et son professionnalisme absolu. Tamise et trouver du travail au National représentations en France (“Avant de quitter ces proxénète en d’autres termes. Tout au long d’une longue carrière Theatre: son talent d’acteur a toujours été un lieux”). Sur le point de partir à la guerre, L’air furieux du Comte Almaviva dans heureusement toujours bourgeonnante, il a élément central de son succès. Valentin demande à Dieu de protéger Le nozze di Figaro (plage 3 ) de Mozart est imposé sa marque à certains rôles d’opéra. Il Et puis il y a les paroles. Ce disque est en Marguerite, sa sœur bien-aimée. L’air remplace provoqué par la remarque de Susanna à son fut pendant longtemps le Don Giovanni de anglais, mais quelle que soit la langue qu’il un duo destiné à Valentin et Marguerite que la fiancé: “Tu as déjà gagné ton procès”. Le l’époque, dans le monde entier, collaborant chante – russe, français ou morave – les créatrice du rôle, Marie Miohlan, refusa de procès en question concerne la forte dette que avec des metteurs en scène aussi grands que paroles constituent un élément indissociable chanter, préférant faire sa première entrée plus Figaro a envers la vieille gouvernante Peter Hall et Giorgio Strehler. A-t-on connu de la ligne musicale. Il chante les récitatifs tard au cours de l’acte. On a peut-être davantage Marcellina, qu’il devra épouser s’il ne peut la un Papageno plus drôle et plus chagrin, un italiens avec une aisance et une sincérité de respect aujourd’hui pour les intentions du rembourser. Ceci plairait beaucoup au Comte, Comte d’une stupidité plus charmante et presque sans égales, ce qui ne surprendra compositeur, mais il est toutefois impensable car il court après Susanna. La jalousie joue pourtant dangereuse dans Figaro, un Don quand on songe qu’il choisit de prendre Sesto que les barytons abandonnent ce qui est devenu donc son rôle dans ce morceau, ainsi que le Alfonso plus manipulateur? Et c’est seulement Bruscantini pour modèle. Il écrit des livres, il l’un des morceaux de base du répertoire lyrique défi lancé à son autorité seigneuriale. Mozart si l’on s’en tient à Mozart. L’un des traits le vient juste de mettre en scène son premier et de concert au profit de l’authenticité. récrivit la seconde partie de l’air pour les

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premières représentations à Vienne en 1789. exigeante de son amour. Malheureusement, les Schiller, Kabale und Liebe. Miller, un soldat couvert d’un voile impénétrable, n’est autre Découverte seulement récemment, cette sentiments exprimés par les longues lignes veuf et à la retraite, protège farouchement sa que Leila. On apprend qu’elle rencontre version porte presque la tessiture du baryton legato de Tchaïkovski sont mal dirigés. fille unique Luisa, et tolère qu’elle se fiance secrètement Nadir depuis un certain temps, et dans celle du ténor, une difficulté qui ne fait L’émotion passive est bien la dernière chose avec un étranger du village. Dans cette scène ils finissent par se faire surprendre. Fou de pas peur à Sir Thomas. que désire cette jeune femme très nerveuse: extraite du premier acte, l’infâme et bien jalousie, et au point culminant d’une tempête Parmi bien d’autres choses, il y a un triangle elle est déjà sous l’emprise du démoniaque et nommé Worm rappelle à Miller qu’il lui a tropicale, Zurga les condamne tous deux à éternel au centre du Tannhäuser de Wagner: fascinant Herman qui va bientôt la conduire à autrefois promis la main de sa fille, mais mort. Dans sa scène solo, “The Storm has died Wolfram et Tannhäuser aiment tous deux la mort. qu’elle a refusé; Miller pourrait faire usage de away” (plage 9 ), il est pris de remords d’avoir Elisabeth, mais au début du deuxième acte Hamlet d’Ambroise Thomas est un opéra son autorité paternelle et la contraindre ordonné leur mort sous l’emprise de la colère; Wolfram prend conscience qu’il n’a aucune bien meilleur que ne le laisserait supposer sa d’accepter. Ceci provoque la première partie de il pense qu’il est impossible que Nadir ait pu chance de la conquérir. D’où la pureté chaste réputation. Pour commencer, tous les barytons l’air de Miller (plage 7 ): le mariage est sacré, manquer à sa parole, et regrette la jalousie qui de sa vision, une pureté dont se moque dignes de ce nom font la queue pour chanter un père est comme Dieu, bon et jamais sévère. l’a conduit à le condamner ainsi que Leila. Les beaucoup son ami plus terre à terre quand il le rôle titre, et ce fut en effet l’un des premiers Wurm lui apprend alors que l’étranger est en librettistes Carré et Cormon déclarèrent que lui demande de décrire la nature de l’amour et des plus grands succès de Sir Thomas. La fait Rodolfo, le fils du Comte Walter, son s’ils avaient su que Bizet était un si grand dans un concours de chant (“Turning my chanson à boire étonnamment joviale (à seigneur et maître. Miller éclate de colère en compositeur, ils ne l’auraient pas encombré gaze” (plage 8 )). Au troisième acte, Wolfram première vue) (plage 6 ) ou “Chanson apprenant cette duperie, et sa rage se mêle à avec un livret aussi “infâme” et “maladroit”. comprend qu’Elisabeth espère obtenir la Bachique”, sert de prélude à la Scène des une nouvelle expression d’amour débordant C’est ici l’un des nombreux exemples où le rédemption de Tannhäuser en se sacrifiant elle- Acteurs, et montre Hamlet et les acteurs en pour sa fille. Au fur et à mesure que l’action se génie de Bizet transcende sans peine leurs même, et il prie l’étoile du soir (“With dark train de se préparer pour le drame avec lequel déroule, cet amour mutuel conduit Luisa à efforts. foreboding” (plage 4 )) de guider son âme vers il espère “saisir la conscience du roi”. La abandonner Rodolfo, puis à sa mort. Billy Budd de Britten est l’un des grands la lumière éternelle. Le fait que l’étoile du soir frénésie débridée et la section médiane Il y a de nouveau un triangle éternel au rôles de Sir Thomas. Peu d’artistes ont égalé soit également Vénus est l’un des nombreux introspective de la chanson suggèrent centre des Pêcheurs de perles de Bizet. Nadir l’équilibre, l’absence d’affectation, la simplicité mystères du chef-d’œuvre complexe de également la folie qui menace constamment et Zurga, amis depuis l’enfance, tombent tous de son interprétation d’un personnage qui Wagner. l’équilibre mental du personnage. deux amoureux de la prêtresse Leila. Plutôt pourrait devenir mièvre, voire sentimental. La L’air du Prince Yeletsky extrait de La Dame Le rapport père-fille est un thème qui que de mettre en péril leur amitié, ils jurent de simplicité est la qualité la plus difficile à de Pique (plage 5 ) possède également une revient souvent, presque à la manière d’une renoncer à elle et de ne jamais chercher à la incarner sur scène, et peu de chanteurs ont certaine pureté chaste. Percevant que quelque idée fixe, dans les opéras de Verdi, et aucun revoir. Zurga a été entre temps élu chef du interprété le rôle avec une telle compréhension chose inquiète Elisa, sa jeune fiancée, il chante n’est plus émouvant que celui présenté dans village des pêcheurs. Convoquée pour bénir et une musicalité aussi scrupuleuse. Billy est sa dévotion absolue envers elle et la nature peu Luisa Miller, d’après le “drame bourgeois” de leurs efforts, la prêtresse, dont le visage est enchaîné dans les cales et attend son exécution

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lors de son solo final, “Billy in the Darbies” précédentes tentatives de séductions, mais (plage 13 ) juste après avoir appris que sa traite du charme et du danger de vivre dans le (plage 10 ). Il accepte calmement sa mort pour pour une fois il échoue et Rosalinde femme Julie est enceinte, et il imagine ce que passé, il est possible de la considérer comme un crime – il a frappé et tué accidentellement l’empoche, ou plus précisément le glisse dans sera son fils, c’est-à-dire pour l’essentiel le un élément central dans l’action de l’opéra. un officier – pour lequel, lui-même, son corsage. C’est un accessoire d’un genre très reflet de son père. Puis, moment d’horreur, si Quoi qu’il en soit, c’est une mélodie l’équipage, sans parler de chacun des membres différent qui servira à démasquer Eisenstein au c’était une fille? “Le cœur brisé” indique la merveilleusement nostalgique, avec des du public, sait qu’il est innocent. De même dernier acte, et il s’en faut de peu que les direction scénique. Mais l’horreur cède la place sopranos dans les coulisses anticipant la future que le Capitaine Vere, qui pour des motifs intentions adultères de Rosalinde ne soient à une vision d’amour et d’instinct de carrière du compositeur à Hollywood. presque impossibles à sonder, certainement si également trahies par cet autre accessoire, la protection proche de Verdi. C’est bien l’on se place dans le contexte de l’époque robe de chambre d’Eisenstein. Die Fledermaus entendu une fille, et la scène entre elle et le © 2005 Rodney Milnes (1951), décide d’appliquer les règles. L’opéra est l’une des plus grandes opérettes, mais traite fantôme de Billy est l’une des plus émouvantes Traduction: Francis Marchal est rempli de scènes où des personnages se de personnages plutôt douteux. En contraste, dans les annales de Broadway. préparent à mourir. Rares sont ceux qui Danilo et Hanna dans Die lustige Witwe sont L’opéra rêveur et “divinement décadent” de Né à Seaham dans le comté de Durham, approchent d’aussi près la vérité dramatique et des modèles de vertu romantique: ils sont Korngold, Die tote Stadt, fut l’un des Sir Thomas Allen fit ses débuts professionnels humaine de Billy Budd. amoureux l’un de l’autre depuis bien avant la nouveaux ouvrages lyriques les plus acclamés avec le Welsh National Opera, et est Passons maintenant du sublime au comique levée du rideau, et l’histoire traite de la de son temps (1921), et il jouit actuellement aujourd’hui une star des grandes salles lyriques débridé. Sir Thomas est depuis longtemps un manière dont il est amené ou poussé à d’un certain regain d’intérêt. Paul, le du monde entier. Au Royal Opera de Covent ami de la muse légère, notamment quand il admettre de fait. Le “Duo du Cavalier” protagoniste, a transformé sa maison de Garden à Londres, où il a célébré en 2001 le chante des chansons folkloriques et populaires. (plage 12 ) est l’une des nombreuses Bruges, la ville morte du titre, en un trentième anniversaire de ses débuts avec cette Sur scène, il a interprété de manière escarmouches musicales entre les deux sanctuaire à la mémoire de Marie, son épouse compagnie, il a chanté plus de quarante rôles. mémorable le rôle d’Eisenstein de Strauss et protagonistes, mais une escarmouche dans disparue. Il rencontre une chanteuse, Marietta, En 2001, il a également célébré le vingtième celui du Comte Danilo de Lehár. La musique laquelle les manœuvres militaires de Danilo qui est le portrait tout craché de Marie, et au anniversaire de ses débuts au Metropolitan la plus légère récompense un talent artistique échouent complètement. deuxième acte, il l’observe en train de s’amuser Opera de New York. Il est acclamé au Lyric d’une telle stature. Extrait de Die Fledermaus Et il y a aussi les comédies musicales de avec ses amis acteurs au bord d’un canal. On Opera de Chicago, à l’Opéra de San Francisco, (plage 11 ), le “Duo de la Montre” est l’un des Broadway. Billy Bigelow dans Carousel est un demande au personnage de Pierrot de chanter à l’Opéra de Los Angeles, au Bayerische moments les plus drôles de l’ouvrage. Un mari rôle que Sir Thomas n’a malheureusement une chanson, “In visions, illusions” (plage 14 ), Staatsoper de Munich, à La Scala de Milan, libidineux fait la cour à une belle masquée qui, jamais chanté sur scène (il en avait été qui possède d’une des mélodies les plus ainsi qu’au Festival de Salzbourg et au Festival inévitablement, n’est autre que sa propre question il y a quelques années) bien qu’il en séduisantes de Korngold. Elle semble être au de Glyndebourne. épouse Rosalinde. Il utilise le carillon de sa ait enregistré d’importants extraits, et en voici premier abord un simple divertissement au Il a été particulièrement acclamé pour ses montre, un accessoire infaillible lors de ses un autre. Billy chante son “Soliloque” sein d’une intrigue morbide, mais puisqu’elle interprétations des rôles de Billy Budd, Pelléas,

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Eugène Onéguine, Ulisse et Beckmesser, pour nombreux titres honorifiques incluent le a réalisé plus de trente enregistrements. Ce Après avoir étudié avec Sergiu Celibidache, les grands rôles mozartiens tels que le Comte Bayerischer Kammersänger décerné par le Chœur ne cesse d’élargir sa réputation, David Parry commença sa carrière comme Almaviva, Don Alfonso, Papageno, Guglielmo, Bayerische Staatsoper, le “Honorary travaillant avec la BBC et plusieurs maisons de assistant de Sir John Pritchard. Il fit ses débuts et bien sûr Don Giovanni. Récemment, il a Membership” de la Royal Academy of Music disques internationales. Pour Chandos, le avec l’English Music Theatre avant de devenir chanté Eisenstein (Die Fledermaus), Don de Londres, le “Prince Consort Professor” du Geoffrey Mitchell Choir a participé à plusieurs l’un des chefs d’orchestre au Städtische Alfonso, Ulisse et Don Giovanni au Bayerische Royal College of Music de Londres, le enregistrements pour Opera in English, une Bühnen à Dortmund et à Opera North. Staatsoper; Yeletsky (La Dame de Pique), “Hambro Visiting Professorship of Opera série de disques très prisés financée par la Peter Directeur musical d’Opera 80 de 1983 à 1987, Sharpless (Madama Butterfly) et le rôle titre de Studies” de l’Université d’Oxford, le Moores Foundation. il est directeur musical d’Almeida Opera Sweeney Todd au Royal Opera de Covent “Fellowship” du Royal College of Music de depuis sa fondation en 1992. Garden; Eisenstein au Festival de Londres et de l’Université de Sunderland, un Le London Philharmonic Orchestra est Sa carrière, nationale et internationale, est Glyndebourne; Don Alfonso au Festival de M.A. de l’Université de Newcastle et un depuis longtemps réputé pour la multiplicité extrêmement remplie, aussi bien sur la scène Pâques et au Festival estival de Salzbourg; le D.Mus de l’Université de Durham. Thomas de ses talents et son excellence en matière lyrique qu’en concert. Il a dirigé plusieurs Fôrestier (La Petite Renarde rusée) à l’Opéra de Allen a été créé Commandeur de l’empire artistique. Ces qualités se manifestent dans la productions de l’English National Opera et de San Francisco et Beckmesser au Metropolitan britannique (CBE) en 1989, et a été anobli en salle de concert comme sur la scène lyrique, l’Opera North et collabore régulièrement avec Opera de New York. 1999. dans ses nombreux enregistrements primés, ses le Philharmonia Orchestra et le London Également célèbre en concert, il se produit tournées internationales innovatrices et son Philharmonic Orchestra. C’est avec Così fan en récital en Grande-Bretagne, à travers Durant sa carrière de chanteur, Geoffrey travail d’avant-garde dans le domaine éducatif. tutte qu’il fit ses débuts au Festival de l’Europe, en Australie, en Amérique, et a Mitchell aborda un répertoire Kurt Masur est chef principal de l’Orchestre Glyndebourne en 1996, une scène qu’il chanté avec les plus grands orchestres et chefs remarquablement varié, depuis la musique depuis septembre 2000. Parmi ses retrouva en 1998 pour diriger la création du monde entier. Il a enregistré la plus grande ancienne jusqu’à la musique contemporaine, se prédecesseurs, depuis la fondation de mondiale de Flight de Jonathan Dove. partie de son répertoire avec des chefs aussi produisant en Scandinavie, en Allemagne, l’Orchestre en 1932 par Sir Thomas Beecham, Il séjourne fréquemment en Espagne où il a éminents que Georg Solti, James Levine, dans l’ancienne Tchécoslovaquie, au Canada et notons Sir Adrian Boult, Sir John Pritchard, dirigé en concert la plupart des grands Neville Marriner, Bernard Haitink, Simon en Australasie. Après avoir fait ses premières Bernard Haitink, Sir Georg Solti, Klaus orchestres espagnols. C’est lui qui dirigea la Rattle, Wolfgang Sawallisch et Riccardo Muti. armes de chef d’orchestre avec la BBC, il Tennstedt et Franz Welser-Möst. Depuis 1992, première espagnole de Peter Grimes à Madrid Le premier livre de Thomas Allen, Foreign décida de prendre une part active dans ce le London Philharmonic Orchestra est et en 1996 la première production espagnole Parts – A Singer’s Journal, a été publié en 1993, domaine avec ses propres chanteurs et fonda le orchestre symphonique en résidence au Royal de The Rake’s Progress. Il a dirigé en Allemagne, et il a récemment fait ses débuts triomphaux Geoffrey Mitchell Choir. Par suite de ses Festival Hall. Il est également orchestre en Suisse, aux Pays-Bas, au Festival de Pesaro de metteur en scène avec Albert Herring au premiers enregistrements l’ensemble travaille symphonique en résidence au Glyndebourne en Italie, au Festival international de Hong- Royal College of Music de Londres. Ses depuis longtemps avec Opera Rara pour qui il Festival Opera depuis 1964. Kong, au Japon pour une tournée de Carmen

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et au Mexique avec l’Orchestre symphonique d’enregistrements d’airs d’opéra (avec Bruce d’UNAM. Il a récemment dirigé plusieurs Ford, Diana Montague, Dennis O’Neill, nouvelles productions dont Fidelio au Festival Alastair Miles, Yvonne Kenny, John Tomlinson, de Nouvelle-Zélande, Lucia di Lammermoor Della Jones et Andrew Shore) de même que Dominic Zoë avec le New Israeli Opera et Don Giovanni a The Flying Dutchman, The Marriage of l’Opéra d’état de Hannover. Figaro, A Masked Ball, Idomeneo, Carmen, En studio, il a participé entre autres The Thieving Magpie, Don Giovanni, à la production de la BBC Television de Don Pasquale, L’elisir d’amore, Lucia di Der Vampyr de Marschner, dirigeant aussi Lammermoor, Ernani, Il trovatore, Aida, vingt-huit intégrales d’opéras financées par la Faust, Cavalleria rusticana, Pagliacci, Peter Moores Foundation. Plusieurs de ces La bohème, Turandot, l’enregistrement primé intégrales furent enregistrées pour Opera Rara de Tosca et des extraits de Der Rosenkavalier, et primées, Rosmonda d’Inghilterra de Donizetti tous ces enregistrements étant réalisés en recevant en Belgique le Prix Cecilia. Pour collaboration avec la Peter Moores Chandos, David Parry a dirigé une série Foundation.

Sir Thomas Allen as Count Almaviva in The Royal Opera’s production of Mozart’s The Marriage of Figaro

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dotato. Ma adesso lasciamo che quanto segue famosi brani di virtuosismo per baritono: Grandi arie operistiche parli da sé. la conosce anche chi non ha mai messo “Even bravest heart may swell” (traccia 1 ) piede in un teatro lirico. È anche una delle Sir Thomas Allen ha raggiunto la fama dei registrati in questo disco che vanno da fu una tarda aggiunta al testo del Faust che più difficili dal punto di vista tecnico e nomi più illustri dell’ambiente culturale della Monteverdi a Sondheim, passando per Verdi conosciamo oggi. Felice del fatto che il grande richiede agilità, incalcolabili riserve di sua patria, il Regno Unito. È un baritono (con un memorabile Germont), Wagner baritono inglese Charles Santley avesse controllo del respiro e capacità di proiettare ammirato e amato in egual misura. È (secondo me, Beckmesser), Puccini (un accettato di cantare Valentin nella prima parole ad alta velocità. È anche una spia ammirato per la bellezza della sua voce, per la Marcello esuberante, uno Sharpless rappresentazione britannica della sua opera, della vera natura del personaggio: nonostante sua sensibilità musicale – viene la tentazione di imbarazzato). Per non parlare di Pelléas, Gounod decise di premiarlo con un’aria il piacere di essere richiestissimo come dire unica, senz’altro per quanto riguarda il Onieghin, Billy Budd, e il Guardiacaccia solistica -- Valentin non ne ha nemmeno una barbiere e dentista, il modo in cui il ritmo legato – e per le sue attente interpretazioni nella Volpe astuta, tutti annoverati tra i suoi nell’originale. Così il critico Henry Chorley, rallenta e Figaro assapora le parole rivela teatrali e concertistiche. Ed è amato per il suo grandi ruoli. E c’è stata un’interpretazione traduttore dell’opera, creò un testo per il che è il “servizio di presentazione” a spirito generoso (una qualità non sempre indimenticabile nel ruolo del Doktor Faust meraviglioso motivo del preludio, che venne soddisfarlo maggiormente. Un mezzano, associata ai cantanti lirici), per la sua natura di Busoni. Se gli dovesse mai venire la poi tradotto nuovamente in francese per le in altri termini. allegra, pratica, per il suo grande senso malaugurata idea di abbandonare il canto rappresentazioni in Francia (“Avant de quitter L’irata aria mozartiana del conte di dell’umorismo e per il suo professionismo. potrebbe attraversare il Tamigi e lavorare al ces lieux”). Prima di partire per la guerra, Almaviva nelle Nozze di Figaro (traccia 3 ) Nel corso di una lunga carriera, per fortuna National Theatre: il suo talento di attore è Valentin affida l’amata sorella Marguerite alla viene scatenata da un’osservazione di Susanna ancora in divenire, Thomas Allen ha segnato sempre stato determinante per il suo cura di Dio. L’aria sostituisce un duetto dei al suo fidanzato, colta per caso: “hai già vinta alcune pietre miliari. È stato il Don Giovanni successo. due fratelli che la Marguerite originale, Marie la causa”. Si tratta del debito in sospeso tra del momento a livello mondiale, in E poi ci sono le parole. Questo disco è in Miohlan, aveva rifiutato di cantare, preferendo Figaro e Marcellina che, se non ripagato, lo collaborazione con grandi registi del calibro di inglese, ma nelle sue interpretazioni in lingua fare il suo primo ingresso più tardi nello stesso obbligherebbe a sposare la governante non più Peter Hall e Giorgio Strehler. Non si sono mai russa, francese o morava, le parole sono una atto. Oggi forse si terrebbe in maggiore giovane. La cosa farebbe felice il Conte che ha visti un Papageno più divertente, più degno di componente indissolubile della musica. considerazione il desiderio del compositore, le proprie mire sessuali su Susanna. Così la compassione, un Conte più attraentemente I recitativi che esegue in italiano hanno ma era impossibile che i baritoni gelosia è un elemento scatenante della sua fatuo ma pericoloso nelle Nozze di Figaro, né un’incredibile spontaneità, cosa non abbandonassero quella che è diventata materia reazione, oltre alla sfida alla sua autorità di un Don Alfonso più manipolatore. E questo è sorprendente, data la sua scelta di studiare con prima del repertorio operistico e concertistico, signore. La seconda parte dell’aria fu riscritta solo Mozart. Una delle qualità più notevoli di Sesto Bruscantini. È autore di libri, ha diretto nell’interesse dell’autenticità. da Mozart per le prime rappresentazioni a questo artista è la sua versatilità, che si la sua prima opera, Albert Herring, con L’aria dell’ingresso di Figaro nel Barbiere di Vienna nel 1789; la versione è stata riscoperta rispecchia fortunatamente in tutti i brani risultati ottimi. È un uomo straordinariamente Siviglia (traccia 2 ) è senz’altro uno dei più da poco e porta il baritono quasi nel registro

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tenorile ma, in questo caso, non crea problemi riposti. L’ultima cosa che questa giovane uno straniero nel villaggio. In questa scena dal momento culminante di una tempesta per Thomas Allen. donna estremamente sensibile desidera è primo atto, il malvagio Wurm gli ricorda che tropicale, Zurga li condanna a morte Tra tante altre cose, esiste un eterno un’emozione passiva: è già stata affascinata dal una volta gli ha promesso la mano della figlia entrambi. In “The storm has died away” triangolo al centro del Tannhäuser di Wagner: diabolico German che ben presto la porterà in matrimonio, ma che lei ha rifiutato; con la (traccia 9 ) si abbandona al rimorso per l’ira Wolfram ama Elisabeth quanto Tannhäuser, alla morte. sua autorità di padre, Miller potrebbe che lo ha spinto a ordinare la loro morte, ma si rende conto all’inizio del secondo atto Hamlet di Ambroise Thomas è un’opera obbligarla. Questo suggerisce la prima parte ritiene inconcepibile che Nadir non abbia che il suo corteggiamento è senza speranza. Da molto migliore di quanto faccia pensare la dell’aria di Miller (traccia 7 ): il matrimonio è mantenuto la parola e rimpiange la gelosia qui la casta purezza del suo ideale, una purezza sua reputazione. Al di là di tutto il resto, i sacro e un padre somiglia a Dio, buono e mai che lo ha spinto a condannare anche Leila. molto schernita dal suo amico più pratico, baritoni di un certo livello fanno la fila per duro. Poi Wurm rivela che lo straniero è in I librettisti Carré e Cormon dichiararono quando gli viene chiesto di descrivere la natura cantare il ruolo di protagonista e infatti realtà Rodolfo, figlio del conte Walter, suo che, se fossero stati consapevoli della dell’amore nella gara di canto (“Turning my questo è stato uno dei primi e più grandi padrone e signore. Miller ha un’esplosione grandezza di Bizet, non gli avrebbero imposto gaze”, (traccia 8 )). Nel terzo atto Wolfram successi di sir Thomas. Il brindisi, d’ira e la sua rabbia si mescola con un altro il fardello di un libretto che definirono “ours comprende che Elisabeth spera di ottenere la sorprendentemente e apparentemente sfogo d’amore nei confronti della figlia. Con lo infâme” (orribile orso). Ecco uno dei molti redenzione per Tannhäuser con la propria vita esuberante (traccia 6 ), o “Chanson svolgimento della vicenda, l’ amore per il momenti in cui il genio di Bizet trascende i e invoca la stella della sera (“With dark Bacchique” fa da preludio alla scena degli padre a sua volta spingerà Luisa a rinunciare a loro sforzi. foreboding’, (traccia 4 )) perché guidi la sua attori; Amleto analizza se stesso e gli attori del Rodolfo e la porterà alla morte. Billy Budd di Britten è un altro dei grandi anima verso la luce eterna. Il fatto che la stella dramma che, si augura, “farà presa sulla Al centro dei Pescatori di perle di Bizet si ruoli di sir Thomas. Pochi hanno eguagliato della sera sia anche Venere è uno dei tanti coscienza del re”. La sua sbrigliata esaltazione e trova un altro eterno triangolo. Nadir e Zurga, l’equilibrio, l’assenza di affettazione, la misteri di questo doloroso capolavoro di la sezione introspettiva centrale suggeriscono la amici d’infanzia, sono entrambi innamorati semplicità del suo modo di impersonare un Wagner. follia che minaccia costantemente il suo della sacerdotessa Leila. Per non mettere a personaggio che può essere stucchevole o Esiste anche un elemento di casta purezza equilibrio. repentaglio la loro amicizia, hanno giurato di persino sentimentale. La semplice virtù è la nell’aria del principe Eleckij tratta dalla Dama I rapporti tra padre e figlia sono un motivo rinunciare a lei e non rivederla più. Nel qualità più difficile di tutte da interpretare in di picche (traccia 5 ). Rendendosi conto del ricorrente, quasi un’idea fissa nelle opere di frattempo Zurga è stato eletto capo del suo teatro. E pochi hanno cantato il ruolo con tale fatto che qualcosa preoccupa Liza, la fanciulla Verdi e nessuno è più commovente di quello villaggio di pescatori, che ha chiamato una profondità, tale scrupolosa maestria musicale. con cui si è appena fidanzato, l’uomo le della Luisa Miller, basato sulla “tragedia sacerdotessa velata a benedire il suo lavoro. Ma Nel suo assolo finale, “Billy in the Darbies”, descrive la propria devozione a lei come quella brorghese” Kabale und Liebe di Schiller. Miller, la donna, sorprendentemente, è Leila, che da (traccia 10 ), il protagonista è incatenato sotto di un cagnolino: la natura del suo amore non è militare in pensione e vedovo, è molto qualche tempo incontra Nadir in segreto. coperta in attesa dell’esecuzione. Accetta con esigente. Purtroppo i sentimenti delineati nelle protettivo nei confronti della figlia unica, Quando la cosa si ripete i due vengono colti calma la sua morte per un delitto – quello di lunghe linee legate di Cajkovskij sono mal Luisa, e ha accettato il suo fidanzamento con sul fatto. In preda all’ira e la gelosia e nel aver colpito e ucciso accidentalmente un

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superiore – mentre lui e l’equipaggio, per non vicenda corre sul filo del rasoio: le intenzioni di sapore quasi verdiano. Naturalmente sarà Nato a Seaham, nella contea di Durham, parlare del pubblico, sanno che è innocente. adulterine di Rosalinde corrono il rischio di una bambina e quando la Billy la vede per la sir Thomas Allen ha esordito come Ne è consapevole anche il capitano Vere, che essere smascherate da un altro strumento prima volta al suo ritorno è una delle più professionista con la Welsh National Opera e per motivi quasi impossibili da comprendere, scenico, la vestaglia di Eisenstein. Oltre a commoventi negli annali di Broadway. oggi è una star dei grandi teatri lirici di tutto il certamente nel 1951, decide di seguire le essere una delle più grandi commedie Die tote Stadt, la città sognante e mondo. Alla Royal Opera House, Covent regole alla lettera. Le opere liriche sono piene operistiche Die Fledermaus, parla di persone “divinamente decadente” di Korngold, fu una Garden, dove nel 2001 ha festeggiato di scene in cui i personaggi si preparano ad piuttosto spregevoli. Danilo e Hanna nella delle opere di maggior successo della sua epoca trent’anni dal suo debutto con la compagnia, affrontare la morte, ma pochissime si Vedova allegra sono invece modelli di virtù (1920) e oggi gode di un revival. Paul, il ha cantato oltre quaranta ruoli. Nel 2001 ha avvicinano alla verità drammatica e umana romantica: sono innamorati da molto prima protagonista, ha trasformato la sua casa di festeggiato anche il ventesimo anniversario dal come questa. che si alzi il sipario e la vicenda si impernia Bruges, la città morta del titolo, in un suo esordio alla Metropolitan Opera, New E passiamo dalle stelle a… cose molto sui tentativi della donna di fare in modo che santuario a ricordo della defunta moglie York. È un apprezzato interprete per la Lyric divertenti. Sir Thomas è da tempo amico della lui lo ammetta. Il “Duetto del cavaliere”, Marie. Poi incontra una cantante, Marietta, Opera di Chicago, l’opera di San Francisco e musica più leggera, soprattutto quella (traccia 12 ), è una di molte schermaglie identica ala moglie e, nel secondo atto, osserva Los Angeles, la Bayerische Staatsoper di folcloristica e popolare. Ha cantato Eisenstein musicali tra i due, una schermaglia in cui lei e i suoi amici attori divertirsi vicino a un Monaco e la Scala di Milano e partecipa ai di Strauss e il Conte Danilo di Lehár in teatro l’uomo ha sbagliato completamente le sue canale. Quando a Pierrot viene chiesta una festival di Salisburgo e Glyndebourne. e le sue interpretazioni sono state memorabili. manovre. canzone, egli esegue “In visions, illusions”, Sono state particolarmente apprezzate le sue La musica più leggera ripaga le qualità E poi ci sono i musical di Broadway. Quello (traccia 14 ), una delle più seducenti melodie interpretazioni di Billy Budd, Pelléas, Eugenio artistiche di questo calibro. Il “Duetto di Billy Bigelow in Carousel è, purtroppo, un di Korngold. Sulle prime sembra un mero Onieghin, Ulisse e Beckmesser, che si dell’orologio” dal Fledermaus (Il pipistrello, ruolo che sir Thomas non ha eseguito in teatro divertimento nella morbosa trama principale, aggiungono ai grandi ruoli mozartiani: il (traccia 11 )) è uno dei momenti più divertenti (se ne era parlato qualche anno fa), ma di cui ma il suo argomento è il fascino e il pericolo Conte Almaviva, Don Alfonso, Papageno, dell’operetta. Il marito libidinoso assedia una ha registrato diversi brani. Qui ne è presente di vivere nel passato, e può essere considerata Guglielmo e, naturalmente, don Giovanni. bella donna mascherata che, inevitabilmente, è un altro. Il “Soliloquy” di Billy (traccia 13 ) è la fondamentale per l’azione dell’opera. In ogni I suoi ultimi impegni hanno compreso sua moglie Rosalinde. Tira fuori il suo sua reazione alla notizia che sua moglie Julie è caso è una melodia meravigliosamente Eisenstein (Die Fledermaus), don Alfonso, orologio a ripetizione, strumento infallibile incinta. L’uomo immagina come sarà suo nostalgica e la presenza dei soprani fuori scena Ulisse e don Giovanni alla Bayerische nelle seduzioni precedenti, ma senza successo: figlio, per lo più a sua immagine e preannuncia la successiva carriera Staatsoper; Eleckij (La dama di picche), Rosalinde se lo mette in tasca, o piuttosto lo somiglianza. Poi arriva un momento d’orrore: hollywoodiana del compositore. Sharpless (Madama Butterfly) e il ruolo di nasconde nella scollatura. Si trasformerà in un e se fosse una bambina? “Disperato” lo protagonista in Sweeney Todd alla Royal Opera strumento completamente diverso per descrivono le indicazioni di scena. Ma l’orrore © 2005 Rodney Milnes House; Eisenstein per Glyndebourne Festival; smascherare Eisenstein nell’ultimo atto, ma la fa posto a una visione di amore e protettività Traduzione: Emanuela Guastella Don Alfonso al festival primaverile ed estivo di

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Salisburgo; il Guardacaccia (La volpe astuta) Commander of the British Empire e nel 1999 iniziative avanzate svolte nel settore debuttato con Così fan tutte al Glyndebourne all’Opera di San Francisco; e Beckmesser alla Knight Bachelor. dell’istruzione. Kurt Masur è Direttore stabile Festival, dove nel 1998 ha diretto la prima Metropolitan Opera di New York. dell’orchestra dal settembre del 2000. Tra i mondiale di Flight di Jonathan Dove. Thomas Allen è altrettanto famoso nelle sale La carriera di cantante di Geoffrey Mitchell suoi predecessori dal 1932, anno in cui sir È un frequente visitatore della Spagna dove da concerto. Svolge recital nel Regno Unito e racchiude un repertorio notevole che spazia Thomas Beecham fondava l’orchestra, vanno si è esibito in concerto con la maggior parte in Europa, Australia e America e ha dalla musica antica a quella contemporanea e ricordati sir Adrian Boult, sir John Pritchard, delle maggiori orchestre spagnole. Ha diretto collaborato con le più grandi orchestre e con i che l’ha portato in Scandinavia, Germania, Bernard Haitink, sir Georg Solti, Klaus la prima spagnola di Peter Grimes a Madrid e direttori di tutto il mondo. Ha registrato la nella ex Cecoslovacchia, in Canada e Tennstedt e Franz Welser-Möst. Dal 1992 la nel 1996 la prima produzione spagnola di maggior parte del suo repertorio con nomi Australasia. L’esperienza di direzione degli inizi London Philharmonic è l’orchestra residente The Rake’s Progress. È apparso in Germania, illustri, tra cui Georg Solti, James Levine, con la BBC lo ha condotto ad un maggiore della Royal Festival Hall. Inoltre è l’orchestra Svizzera, Paesi Bassi, al Festival di Pesaro in Neville Marriner, Bernard Haitink, sir Simon coinvolgimento con i suoi stessi cantanti e sinfonica residente della Glyndebourne Festival Italia, al Festival Internazionale di Hong Kong, Rattle, Wolfgang Sawallisch e Riccardo Muti. inoltre alla creazione del Geoffrey Mitchell Opera da 1964. in Giappone con una tournée della Carmen e Il primo libro di Thomas Allen, Foreign Choir. Le prime registrazioni sono sfociate nel in Messico con la UNAM Symphony Parts – A Singer’s Journal è stato pubblicato nel coinvolgimento a lungo termine del Coro con David Parry ha studiato con Sergiu Orchestra. Recenti nuove produzioni da lui 1993; in seguito è venuto un trionfante Opera Rara, per la quale ha inciso più di Celibidache ed ha cominciato la sua carriera dirette comprendono il Fidelio al Festival della esordio nella regia con Albert Herring al Royal trenta registrazioni. Il Coro gode di una fama come assistente di Sir John Pritchard. Ha Nuova Zelanda, Lucia di Lammermoor alla College of Music. È stato insignito di sempre maggiore con ulteriore lavoro dalla debuttato all’English Music Theatre, quindi è New Israeli Opera e Don Giovanni alla numerose onorificenze, tra cui quella di BBC e da case discografiche internazionali. Per diventato direttore d’orchestra presso la Staatsoper di Hannover. Bayerischer Kammersänger dalla Bayerische la Chandos il Geoffrey Mitchell Choir ha Städtische Bühnen di Dortmund e la Il suo lavoro in studio di registrazione Staatsoper e la Honorary Membership della partecipato a numerose registrazioni nelle Opera North. È stato Direttore Musicale di comprende la produzione della BBC di Royal Academy of Music. Inoltre è Prince applaudite serie di Opera in English con il Opera 80 dal 1983 al 1987 e dal 1992 è stato Der Vampyr di Marschner nonché ventotto Consort Professor del Royal College of Music, patrocinio della Peter Moores Foundation. Direttore Musicale fondatore dell’Opera di registrazioni operistiche complete con il Hambro Visiting Professor of Opera Studies Almeida. patrocinio della Peter Moores Foundation. Tra all’università di Oxford, Fellow del Jesus La London Philharmonic Orchestra è da Lavora copiosamente in opere e concerti, a questi vi sono numerosi dischi per l’etichetta College Oxford, Fellow del Royal College of tempo apprezzata per la sua versatilità e livello nazionale ed internazionale. Ha diretto Opera Rara che hanno vinti parecchi premi, Music, Fellow della University of Sunderland. l’altissima levatura artistica. Queste qualità diverse produzioni presso la English National tra cui il belga Prix Cecilia per la Rosmonda Ha ricevuto un M.A. dall’università di sono evidenti nelle sale da concerto e nei Opera e la Opera North e appare regolarmente d’Inghilterra di Donizetti. Per Chandos ha Newcastle University e un D.Mus. da quella di teatri, nella ricca discografia pluripremiata, con la Philharmonia Orchestra e la London diretto una serie di registrazioni di arie d’opera Durham. Nel 1989 è stato nominato nelle brillanti tournée internazionali e nelle Philharmonic Orchestra. Nel 1996 ha (con Bruce Ford, Diana Montague, Dennis

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O’Neill, Alastair Miles, Yvonne Kenny, John Lammermoor, Ernani, Il trovatore, Aida, Tomlinson, Della Jones e Andrew Shore), Faust, Cavalleria rusticana, Pagliacci, Sir Thomas Allen as the Forester in

nonché The Flying Dutchman, The Marriage of La bohème, Turandot, Tosca (vincitrice di un Barda Clive The Royal Opera’s production of Figaro, A Masked Ball, Idomeneo, Carmen, premio) e brani scelti da Der Rosenkavalier, Janácˇeks The Cunning Little Vixen The Thieving Magpie, Don Giovanni, tutte in collaborazione con la Peter Moores Don Pasquale, The Elixir of Love, Lucia of Foundation.

52 53 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 54 Catherine Ashmore Catherine Ashmore

Sir Thomas Allen in the title role of Sir Thomas Allen as Count The Royal Opera’s production Danilo in The Royal Opera’s of Sondheim’s Sweeney Todd production of Lehár’s The Merry Widow

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from Faust Up bright and early, don’t miss a chance, I don’t! I can do anything, I can do everything, Impudent slave, how dare you! Valentin’s Cavatina Ah, life is wonderful, life is a pleasure, I am the barber everyone wants. Is this how you repay me? when you’re the barber par excellence, par You’re brilliant, Figaro, wonderful, marvellous, You have the gall to laugh at me in my unhappy Valentin excellence! you never falter in your advance. plight. 1 Even bravest heart may swell You’re brilliant, Figaro, wonderful, marvellous, La la la la la la! Only the thought of vengeance for all the grief in the moment of farewell… brilliant! Cesare Sterbini after Beaumarchais & Petrosellini, you cause me Loving smile of sister kind, Master of everything, you lead the dance, ah yes! translation by David Parry consoles me and restores me, and fills me with quiet home I leave behind, Ready to go, I never say no, delight. oft shall I think of you… from morning to evening I never stop. from The Marriage of Figaro Da Ponte after Beaumarchais, Whene’er the wine cup passes round, It makes me dizzy when I’m so busy, Count Almaviva’s Recitative and Aria translation by Jeremy Sams when alone my watch I keep, but I’m the barber who came out on top. and my comrades lie asleep Haircut or colouring, facial or manicure, Count from Tannhäuser 3 among their arms upon the tented battle ground… you call me out or come to the shop. ‘You’ve won the case already’, what does that But when danger to glory shall call me, And I’m so clever at handling people, mean? They are out to deceive me. Treachery! I’ll Wolfram’s Aria I still will be first, be first in the fray, both with the ladies, and with the men too: teach them to presume to attack me. They will as blithe as a knight in his bridal array. be punished; I’ll enjoy passing sentence. What if Wolfram with a young girl it’s la la la lera, 4 Careless what fate may befall me, he’s managed to pay off Marcellina? How could With dark foreboding twilight casts her shadows and with a man it’s la la la la la la. and like a shroud enfolds the woods and when glory shall call me. Ah, life is wonderful, life is a pleasure, he? He has no money. And then Antonio won’t Yet the bravest heart may swell allow his beloved niece Susanna to marry such a meadows; when you’re a barber par excellence, par excellence. the soul who seeks to climb towards the light in the moment of farewell, Everyone asks for me, everyone looks for me, nobody as Figaro. I will work on Antonio, and loving smile of sister kind, swell his bloated pride. It will work in my starts out in terror through the realm of light. older or younger, richer or poorer, There shines a star, the fairest in the heaven quiet home I leave behind, shave me this instant… try a new hairstyle… favour… I have decided. oft shall I sadly think of you when far away, to guide our ways its gentle light was given, I’ve got a spot here… Give her this letter… Must I be made to suffer while servants take pierce thro’ the darkness part the twilight air, when I am far away. Hey! Figaro, Figaro, Figaro. their pleasure? Henry Chorley to show the path through this night of despair. Oh God! It’s crazy! Oh God! He dares to steal my treasure, she should be Look down, oh gentle evening star, from The Barber of Seville It’s madness! One at a time please. mine by right. shine on this mortal from afar. One at a time, not all at once! Must passion still torment me, must I stand by For one who never spoke his love, Figaro’s Cavatina Figaro… I’m here. Hey… Figaro… I’m here. and bless her? watch over her as she soars above, Figaro Figaro there! Figaro where? Must Figaro possess her, caress her in my sight? far from this world to heav’n ascending, 2 La la la lera, la la la la. Figaro here! Figaro dear… Must this be so? Must this be so? to share with angels peace unending! I am the barber everyone wants, I am! Figaro go! Figaro no! Ah, no, I will not spare you, I’ll teach you to Richard Wagner, La la la, la la la, la la la la. Figaro, who? Figaro do. betray me! translation by Rodney Blumer

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from The Queen of Spades Ah, I despair at this remoteness, Marcellus and Horatio (aside) Wurm and long for you with all my heart! I overheard you! Yeletsky’s Aria He is mad! So say to me how I may banish The fire of jealous fury rages within me!… Yeletsky these doubts, which keep us both apart. Chorus I love your daughter… 5 You seem unhappy, my beloved, My dearest one, confide in me! He is mad! A year ago I asked you to grant her hand in as if there’s something on your mind… M. & P. Tchaikovsky after Pushkin, Hamlet marriage: translation by David Lloyd-Jones Confide in me! Leave me be, evil omens! you seemed to accept me. Liza Fools are wiser men than we! Ah! And now the wheel of fortune has turned in my No, really, Prince. It’s nothing… I assure you! from Hamlet Oh wine, deliver me from sadness, favour; my former master is dead and his successor more (She makes as to go.) Drinking Song lift this weight from my heart! Intoxicate me with your madness, generous to me: Yeletsky Hamlet dreams of laughter impart! yet you go back on your promise! How dare Don’t leave me, stay for just a moment, and hear 6 Oh wine, deliver me from sadness, Oh, elixir, tempting enchantress, you?!… me, lift this weight from my heart! your mindless ecstasy conquers my heart! Miller hear what I must say. Intoxicate me with your madness, Sweet dreams impart! Be silent… I gave you my consent as a father You have my love and my devotion; dreams of laughter impart! on the condition my daughter loved you. in you I see a perfect wife. Oh, elixir, tempting enchantress, Marcello, Horatio and Chorus For you I’d risk the gravest danger your mindless ecstasy conquers my heart! Sweet dreams impart! Wurm and gladly sacrifice my life. Oh, elixir, tempting enchantress, And could you not have forced her to accept But yet I vow my love shall not confine you; Chorus your mindless ecstasy conquers our heart! what we agreed upon? you’ll have your independence still. Oh, elixir, tempting enchantress, Drink to excess! Does a father not have his rights? I’ll never question or mistrust you, your mindless ecstasy conquers our heart! J. Barbier & Carrier after Shakespeare, Miller translation by Kenneth Richardson or dare to act against your will: Drink to excess! What are you saying? I only long to make you happy! Marcellus and Horatio (aside) Marriage is sacred and should be entered, Don’t think I’ll be the sort of husband He’s drowning himself in excess. from Luisa Miller by man and woman, freely and gladly. who lacks all sense of what is right: Unions that only death casts asunder, I’ll care for you like any brother; Hamlet Miller’s Scena and Aria when they are forced, will always end badly. this is my purpose day and night. God knows the number of our short years; Wurm I am no tyrant. I am a father, life disappears and it is sombre. But I’ve deceived myself with these illusions 7 Stop! You shall listen. and cannot order my children to love. for now the bitter truth is clear. Each one of us carries, alas, Fathers resemble their heavenly father You look at me without emotion his heavy burden! Cruel affair, Miller when they are kindly, and never harsh! and hide, perhaps, a secret fear! endless despair, being a human! Wurm!… When they are kind, no, and never harsh!

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Wurm far more precious than my life: from The Pearl Fishers from Billy Budd You are old now: beware of kindliness, now I beg that bounteous heaven Zurga’s recitative and aria think what your blind emotions could cost, and to protect her and keep her safe. Billy in the Darbies dearly! Salvatore Cammarano after Schiller, Zurga translation by David Parry 9 The storm has died away. Billy Budd Miller The winds have ceased their violence. 10 Look! Through the port comes the moonshine Explain yourself. from Tannhäuser The world is now sleeping in silence! astray! Wurm Wolfram’s Aria But I… I hope in vain for calm to close my eyes. It tips the guard’s cutlass and silvers this nook; My agony consumes me But ’twill die in the dawning of Billy’s last day. Here, under false pretences, Wolfram your sweet young man presents himself: and my soul is distraught. Ay, ay, all is up; and I must up too, 8 Turning my gaze upon this proud assembly you are deceived… I’ve one obsessive thought, Nadir, Nadir. Early in the morning, aloft from below. warmth fills my heart to see so fair a sight. Ah! Nadir will have to die On an empty stomach, now, never would it do. Miller So many heroes, valiant, wise and noble, when the sun ascends the sky. They’ll give me a nibble bit of biscuit ere I go. You are certain?… The boy is lying?… a very forest, upright, fresh and green; O Nadir, best of friends when we were younger. Sure, a messmate will reach me the last parting Wurm and at their sides their virtuous ladies O Nadir, and I have sent you to your death! cup; I know he is. He is the son of the hated Walter! fresh as a field of fragrant springtime flowers. O Nadir, alas what jealous rage and anger, But turning heads away from the hoist and the All mortal eyes are dazzled by their beauty: belay, Miller what is this jealous rage and anger to praise it lies beyond a poet’s pow’rs. Heaven knows who will have the running of me Oh Heavens!… His son, you tell me?… that is causing my heart to break. Then I look up to stars above me shining, No, no I won’t believe it, up! Wurm one holds my gaze more than all others fair: it’s all a dreadful nightmare, No pipe to those halyards… But aint it all sham? Your master’s son. Farewell. its radiance fills my heart with chaste devotion, for you would never break your vow. A blur’s in my eyes; it is dreaming that I am. Miller and rev’rently my soul sinks down in prayer. The one who’s guilty, alas, is me… But Donald he has promised to stand by the plank, Then… And then I seem to see a mystic fountain What remorse! What regret. What have I done? So I’ll shake a friendly hand ere I sink. so clear and pure I tremble at the sight: O Nadir, best of friends when we were younger; But no! It is dead then I’ll be, come to think. Wurm it is the source of ev’ry human pleasure I have finished. O Leila, radiant beauty and grace. They’ll lash me in hammock, drop me deep, and fills my heart with wonder and delight. O Nadir, O Leila, please forgive all my jealous Fathoms down, fathoms… how I’ll dream fast Miller I never could defile the fountain’s beauty anger, asleep. He fills my heart with pain! or cloud its purity with wanton deed: I beg you to forgive the excess of a broken heart. I feel it stealing now;… roll me over fair. I was right to be so suspicious! in humble devotion I kneel and guard it, Evermore the remorse will haunt me. I’m sleepy and the oozy weeds about me twist. In my soul the ache of anger this holy source of ev’ry human need. Nadir, Leila, alas, I’m ashamed of my cruel rage. libretto by E.M. Forster and Eric Crozier overwhelms me, yet makes me stronger: This anthem, hear, and with good heart receive it; Ah! Please forgive the excess of a broken heart. © 1951 by Hawkes & Son (London) Ltd sacred honour shall be upheld! Reproduced by permission of Boosey & Hawkes Music such is the pow’r of love as I perceive it. Ah, forgive me! Publishers Heaven granted me a daughter Richard Wagner, translation by Rodney Blumer Carré & E. Cormon, translation by Amanda Holden 60 61 CHAN 3118 BOOK.qxd 12/9/06 4:04 pm Page 62

from Die Fledermaus (The Bat) In a moment he’ll be suing Rosalinde and Eisenstein Eisenstein for relief from his undoing: Yes, let us count! One, two, three, four, five, six, seven, eight, hop, Watch Duet we shall view him caught inside hop, hop, hop, Wait, I can’t keep up! Three four, my little trap. Eisenstein five, six, seven, eight, nine, ten, eleven, twelve, Eisenstein (to himself ) One, two, three, four. 11 Though I’m somewhat out of practice, Eisenstein hop, hop, hop, hop, can’t keep up! Six hundred the unalterable fact is I must kiss her, She’s reviewing her undoing Rosalinde and nine! must not miss her; and renewing her resolve. Five, six, seven, nine. Rosalinde I’d make love to her right here, If she’s caught in the trap, Eisenstein That surely is your pulse, not mine. if she’d only let me near. she’ll be in my lap. No, that can’t be right, In a moment she’ll be suing Eisenstein Rosalinde (to herself ) you have completely missed out eight. for some relief. Oh, mine goes twice as fast. Though his absence should be penal, She will be in my lap, his attention’s clearly venal. Rosalinde Rosalinde caught inside my little trap. He should miss me, You’ve put me in a dreadful state; No, no, no! but he’d kiss me: (Eisenstein lets his watch strike.) we must change places. what a dreadful cad he is! Eisenstein Rosalinde (with weak voice, hand on heart) Eisenstein Half a million at least! I shall puninsh him for this. Ah! I’m feeling rather dizzy; Places? How? Eisenstein my poor heart is pounding so! Rosalinde Rosalinde I think you’re trying to confuse me. In the magic of this moment, Eisenstein (observes with triumph) Put you hand here upon my breast forget the word disgrace! Ah, my conquest will be easy: and I shall make the watch repeat. Eisenstein Raise your mask and end my torment, her excitement starts to grow. Then both of us will feel the beat. No, you’re a devil sent to tease me. for I long to see your face. Now you must count, my dear Marquis! Rosalinde (as before) Rosalinde Rosalinde I am prone to palpitations: Eisenstein You shan’t repeat your trick this evening! Ah, my dear Marquis, I beg you! don’t concern yourself too much! At your command! You must never touch a mask. Could we check my racing heartbeat Eisenstein With your breeding I expect you with the chiming of your watch? Rosalinde She wants to keep my favourite watch, oh my god! to be tactful if I ask. One, two, three, four, five, six, seven, eight, Eisenstein Rosalinde See him cooing, misconstruing, nine, ten, eleven, twelve, thirteen, fourteen, But of course, I have it here! I thank you most deeply. no idea whom he’s pursuing, fifteen, sixteen, seventeen, eighteen, nineteen, not an inkling, in a twinkling Rosalinde twenty, thirty, fourty, fifty, sixty, seventy, eighty, Eisenstein he would have me in his lap. Let us count, if you don’t mind. a hundred! I wonder if…

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Rosalinde Dare to give the man the eye. Hanna I’ll teach him to wrassle, Delightful to meet you! Ah! Show him what you’re made of! If you’d dared to say hello, and dive through a wave, Danilo would it have been ‘yes’ or ‘no’? when we go in the mornin’s for our swim. Eisenstein Would she have relented? His mother can teach him She has quite escaped my clutches, Lady seems to give a wink. What’s the soldier s’posed to think? Would she have consented? the way to behave, and look where my favourite watch is! Silly man, you’ll never know! but she won’t make a sissy out o’ him. This campaign was too expensive Hanna Giddy up and off you go. Not him! Not my boy! Not Bill! Bill! and the damage is extensive. Silently she seems to say, My boy, Bill! Danilo My favourite watch! this one could go either way! (I will see that he’s named after me, I will!) Would she have relented? (He tries to get the watch.) If a girl’s admiring you, My boy, Bill! He’ll be tall Would she have consented? Excuse me please… longing for a rendezvous, and as tough as a tree, will Bill! Luckily, I’ll never know! I wonder if… would you dare to woo her, Like a tree he’ll grow Giddy up and off I go. She has quite escaped my clutches. will you look right through her? with his head held high My favourite watch, if I only had it back! What’s the soldier going to do? Hanna and his feet planted firm on the ground, Oh god! Would you dare return her glance? Would I have relented? and you won’t see nobody dare to try This campaign was too expensive Even ask her out to dance? Would I have consented? to boss him or toss him around! and the damage is extensive. No, you couldn’t bear to, Silly man, you’ll never know! No pot-bellied, baggy-eyed bully ‘ll boss him I have lost my favourite watch! no, you wouldn’t dare to. Léon & Stein after Meilhac, around. Ah! It’s all my fault! God! Silly man, you missed your chance! translation by Jeremy Sams I don’t give a damn what he does, C. Haffner & R. Genée after Meilhac & Halévy, Hello, soldier’s riding back! as long as he does what he likes! translation by David Parry Spurs a-jingle jangle. from Carousel He can sit on his tail, Time to mount a fresh attack or work on a rail from The Merry Widow from a different angle! Billy Bigelow’s Soliloquy with a hammer a-hammerin’ spikes. Soldier smiles and tips his hat, Billy He can ferry a boat on a river Cavalryman Duet moves a little closer. 13 I wonder what he’ll think of me! or peddle a pack on his back, If you think I’ll fall for that, Hanna I guess he’ll call me ‘The old man!’ or work up and down then the answer’s ‘No, sir!’ 12 Hello, here’s a soldier bold, I guess he’ll think I can lick the streets of a town mounted on his charger; Danilo ev’ry other feller’s father; well, I can! with a whip and a horse and a hack. head to toe in red and gold, If the lady’s so blasé, I bet that he’ll turn out to be He can haul a scow along a canal, like a maharajah! one could simply ride away. the spittin’ image of his dad. run a cow around a corral, Come on, lady don’t be shy, I’ve more urgent things to do, But he’ll have more common sense or maybe bark for a carousel. what are you afraid of? than to waste my time on you! than his puddin’-headed father ever had. Of course it takes talent to do that well.

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He might be a champ of the heavyweights, Bill, Oh, Bill! What would I do with her? She’s got to be sheltered The moon on the Rhine shone pale and fine; or a feller that sells you glue, What could I do for her? and fed and dressed two eyes, blue as sapphires, implored me to stay. or President of the United States. A bum with no money! in the best that money can buy! They whispered ‘Be sweet, be kind. That’d be alright too. You can have fun with a son, I never knew how to get money Don’t go, don’t leave me behind! His mother would like that… but you got to be a father but I’ll try, This land is your homeland, But he wouldn’t be President unless he wanted to to a girl! by God! I’ll try! ah, why would you stray?’ be. She mightn’t be so bad at that, I’ll go out and make it But visions, illusions, enticed me away. Not Bill! a kid with ribbons or steal it, Far off horizons kindled my hunger anew. My boy, Bill! He’ll be tall in her hair! or take it or die! Lure of the limelight charmed me, what could I do? and as tough as a tree, will Bill! A kind o’ neat and petite ‘Soliloquy’ Words by Oscar Hammerstein II and Music by Follow my siren’s calling, Like a tree he’ll grow little tin-type of her mother! Richard Rodgers kiss as my tears were falling. with his head held high What a pair! Copyright © 1945 by Williamson Music. and his feet planted firm on the ground, I can just hear myself bragging about her! Copyright Renewed. Sopranos International Copyright Secured. Ah! and you won’t see nobody dare to try My little girl, Reprinted by Permission. All Rights Reserved. to boss him or toss him around! pink and white All Rights for the US & Canada controlled by Williamson Fritz No fat bottomed, flabby-faced, pot-bellied, as peaches and cream is she. Music (ASCAP) Bliss and woe, joy and pain. baggy-eyed bully ‘ll boss him around. My little girl Ah, that is Pierrot’s refrain. And I’m damned if he’ll marry his boss’s daughter, is half again as bright from Die tote Stadt (The Dead City) My visions, illusions are fading away… away… a skinny-lipped virgin with blood like water, as girls are meant to be! Fritz’s Song Paul Schott after G. Rodenbach, who’ll give him a peck and call it a kiss, Dozens of boys pursue her, translation by Christopher Cowell and look in his eyes through a lorgnet. many a likely lad Fritz 14 Say, why am I takin’on like this? does what he can to woo her In visions, illusions, I yearn for the day My kid ain’t even been born yet! from her faithful dad. love met me on tip-toe, then danced on her way. I can see him when he’s seventeen or so, She has a few and startin’ in to go with a girl! pink and white young fellers of two and three I can give him but my little girl lots of pointers gets hungry ev’ry night and she comes home to me! very sound, My little girl, my little girl! on the way to get ’round any girl. I got to get ready before she comes! I can tell him… I got to make certain that she Wait a minute! Could it be? won’t be dragged up in slums What the hell! What if he is a girl? with a lot o’ bums like me.

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Sir Thomas Allen as Valentin in The Royal Opera’s Sussie Ahlberg Sussie

production of Gounod’s Faust Luckhurst Nigel

Sir Thomas Allen

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On session: Sir Thomas Allen On session: Sir Thomas Allen Bill Cooper Bill Cooper Bill and Janice Watson

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On session: David Parry On session: Sir Thomas Allen Bill Cooper Bill and Janice Watson Cooper Bill and Sir Peter Moores

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Opera in English on Chandos Opera in English on Chandos CHAN 3096 CHAN 3101(2)

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Opera in English on Chandos Opera in English on Chandos CHAN 3093 CHAN 3099

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The Opera in English series: CHAN 3103(2) Mozart: Idomeneo CHAN 3011(2) Donizetti: Don Pasquale CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3022 Strauss: Der Rosenkavalier (The Knight CHAN 3083(2) Donizetti: Lucia of Lammermoor of the Rose, highlights) CHAN 3017(2) Donizetti: Mary Stuart CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3054(3) Wagner: The Rhinegold Artistic consultant to the Peter Moores Foundation: Patric Schmid CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3038(4) Wagner: The Valkyrie Staging co-ordinator: Charles Kilpatrick Company) CHAN 3045(4) Wagner: Siegfried CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3060(5) Wagner: Twilight of the Gods Vocal and language consultant: Ludmilla Andrew Chivalry) CHAN 3065(16) Wagner: Complete Ring Cycle Translation research by Henrietta Bredin CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3101(2) Janácˇek: The Cunning Little Vixen Music librarian: Jacqui Compton CHAN 3008(2) Puccini: La bohème CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3070(2) Puccini: Madam Butterfly CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3000(2) Puccini: Tosca CHAN 3007 Mussorgsky: Boris Godunov (highlights) Recording producer Brian Couzens CHAN 3066 Jane Eaglen sings Tosca CHAN 3042(2) Tchaikovsky: Eugene Onegin Sound engineer Ralph Couzens CHAN 3086(2) Puccini: Turandot Assistant engineer Michael Common CHAN 3025(2) Rossini: The Barber of Seville Great Operatic Arias Editors Jonathan Cooper CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3096 Elizabeth Futral Operas administrator Sue Shortridge CHAN 3074(2) Verdi: Aida CHAN 3035 Yvonne Kenny CHAN 3052(2) Verdi: Ernani CHAN 3099 Yvonne Kenny 2 Recording venue Blackheath Halls, London; 23–26 October 2003 CHAN 3079(2) Verdi: Falstaff CHAN 3049 Della Jones Front cover Photograph of Sir Thomas Allen by Bill Cooper CHAN 3116(2) Verdi: A Masked Ball CHAN 3010 Diana Montague Back cover Photograph of David Parry by Russell Duncan CHAN 3068(2) Verdi: Otello CHAN 3093 Diana Montague 2 Design Sean Coleman CHAN 3030(2) Verdi: Rigoletto CHAN 3112 Barry Banks CHAN 3023(2) Verdi: La traviata CHAN 3006 Bruce Ford Booklet typeset by Dave Partridge CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3100 Bruce Ford 2 Booklet editor Kara Reed CHAN 3067 A Verdi Celebration CHAN 3088 Bruce Ford sings Viennese Operetta Publisher BMG Ricordi S.p.A. Milan/United Music Publishers, London (tracks 2, 6, 7 & 9), CHAN 3091(2) Bizet: Carmen CHAN 3013 Dennis O’Neill Schott Musik International (tracks 4, 8 & 14), Concord Music Hire Library (tracks 5 & 11), CHAN 3014(3) Gounod: Faust CHAN 3105 Dennis O’Neill 2 CHAN 3089(2) Gounod: Faust (abridged) CHAN 3085 Alan Opie Glocken Verlag (track 12), Josef Weinberger Ltd (track 13) CHAN 3033(2) Massenet: Werther CHAN 3077 Andrew Shore Copyright Boosey & Hawkes (track 10), Josef Weinberger Ltd (track 12), T.B. Harne (track 13), CHAN 3094(2) Berg: Wozzeck CHAN 3032 Alastair Miles Schotts Söhne (track 14) CHAN 3019(2) Handel: Julius Caesar CHAN 3044 John Tomlinson p 2005 Chandos Records Ltd, CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3076 John Tomlinson 2 c CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3078 Baroque Celebration 2005 Chandos Records Ltd CHAN 3057(3) Mozart: Don Giovanni Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK. Printed in the EU

78 79 CHAN 3118 Inlay.qxd 12/9/06 4:15 pm Page 1 GREAT OPERATIC ARIAS: Sir Thomas Allen/Parry GREAT OPERATIC ARIAS: Sir Thomas Allen/Parry GREAT OPERATIC ARIAS CHANDOS DIGITAL CHAN 3118 SIR THOMAS ALLEN Charles François Gounod Richard Wagner from Faust from Tannhäuser 1 ‘Even bravest heart may swell’ 3:23 8 ‘Turning my gaze upon this proud assembly’ 4:58

Gioachino Rossini Georges Bizet 2 from The Barber of Seville from The Pearl Fishers ‘I am the barber everyone wants, I am!’ 4:45 9 ‘O Nadir, best of friends’ 6:26 Wolfgang Amadeus Mozart from The Marriage of Figaro Benjamin Britten 3 ‘Must I be made to suffer’ 4:42 from Billy Budd 10 Billy in the Darbies 5:36 Richard Wagner 4 from Tannhäuser Johann Strauss II ‘Look down, oh gentle evening star’ 4:47 from Die Fledermaus (The Bat) 11 ‘Though I’m somewhat out of practice’ 4:48 Pyotr Ilyich Tchaikovsky with Janice Watson soprano 5 from The Queen of Spades ‘You have my love and my devotion’ 4:59 Franz Lehár 12 from The Merry Widow Ambroise Thomas ‘Hello, here’s a soldier bold’ 3:32 6 from Hamlet with Janice Watson soprano ‘Oh wine, deliver me from sadness’ 4:13 with Geoffrey Mitchell Choir Richard Rodgers Giuseppe Verdi 13 from Carousel from Luisa Miller ‘I wonder what he’ll think of me!’ 7:11 7 ‘Marriage is sacred’ – ‘I was right to be so suspicious’ 8:05 Erich Korngold with Brindley Sherratt bass from Die tote Stadt (The Dead City) 14 ‘In visions, illusions’ 3:49 HN3118 CHAN 3118 CHAN CHANDOS TT 72:35 CHANDOS London Philharmonic Orchestra • David Parry with Geoffrey Mitchell Choir CHANDOS RECORDS LTD p 2005 Chandos Records Ltd c 2005 Chandos Records Ltd Colchester . Essex . England LC 7038 DDD Printed in the EU