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· /-/("/' ; ® GRAN TEATRE DEL LICEU Temporada 1995-96 CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA AJUNTAMENT DE BARCELONA MINISTERIO DE CULTURA DIPUTACIÓ DE BARCELONA til lORICA Joyas y Perlas Joies i Perles ® Tristan und Isolde Drama líric en tres actes Text i música de Richard Wagner En versió de concert Palau de la Música Catalana Diumenge, 21 d'abril, 17 h, funció núm. 13, torn T Dijous, 25 d'abril, 20 h. Cicle «Palau 100» Dimarts, 30 d'abril, 20 h, funció núm. 14, torn B Índex 9 Repartiment 10 Resum argumental 24 Causes externes de la creació de Tristan und IsoLde 50 Cent quaranta-quatre morts d'amor 63 Biografies 75 Enregistraments 87 Pròximes funcions 89 Textos ® Tristan und Isolde Tristan Jyrki Niskanen El Rei Marke Hans Tschamm er 1501 de Eva Marton Kurwcrial Eike Wilm Schulte Melot Wolfgang Rauch Brangiine Eva Randova Un pastor Antoni Comas Ull pilot Manuel Garrid o Veu d'ull mariner Antoni Comas Direcció III usical David Robertson Director del COl' Andrés Máspero ORQUESTRA SIMFÒNICA l COR DEL CRAN TEATRE DEL UCEU Violí concertino Josep M. Alpisie Malvina Schnorr i Ludwig Schnorr von Carolsfr-ld. primers intèrprets dIsoldc i Tristan. Ill..... Resum � Il0l- •• � •••,ul14l..(J,tattt. argumental --::kbttl.��;:':.�. 3-�!lak: �riftan unb,J;olbt "1�Ï&a1ttt. El la Nit i la Mort les Vro."r� ....-lJ.anll./�n; Dia, són, respectivament, E_.- EE-:::, �:. i:.!::::-;:__ .•.._ ., ... _. �-� claus de volta de cadascun dels tres actes de Tristan und Isolde. L'antítesi del Dia, que encarna les misèries de la realitat quotidiana i social, i la sacra Nit, que desvetlla i protegeix els es resol en a una Mort amants, l'aspiració PlllO'.I<\�1.\1I Jol , \ I.IU:\110:-' lIt rllIST.\:-' 1.1 blOll>I. \luu, .. h '''IUlll ",.,_, I¡II.',·,')II 1ï,,'.iI,·e , 1 I¡IIm,·/¡ alliberadora en la qualles ànimes -d'acord amb es dissolen en l'univers. Programa de l'estrena a Munic, el 10 de juny de Schopenhauer- 1865. Museu del Teatre de Munic, ACT E I vaixell du Isolde, princesa d'Irlanda, a Cornualla, on ha de contraure matrimoni amb el vell rei Marke. UnPerò Tristan i Isolde es coneixien de feia temps: la princesa havia estat promesa a un cavaller que fou mort per Tristan. La mateixa Isolde guarí el ferit Tristan sense saber que era l'assassí del seu promès i sentí per ell una atracció Pàgina scgücnr: sobtada que mai no ha oblidar. Indignada pel fet que Ludwig i Malvina Schnorr von Carolsfeld pogut en un assaig cie Tristan IIl1d Isolde. Tristan la condueixi davant el rei Marke, demana a la serventa 12 11 ¡.: S [ �I A 11 e [ ,\1 lê \ T \ L 11 E S L' \1 ¡\ H e r \1 E \ T ¡\ L I 13 Brangàne el filtre de mort. Però la serventa canvia el filtre de «Però és una constant mort d'amor i en trobar-se cara a cara Tristan i Isolde, pel que les civilitzacions, per tensos i mentre la saluda el desembarca­ violents, tripulació tal de limitar els riscos ment a Cornualla, beuen plegats la copa «de la reconciliació» de crisis generalitzades, i, en comptes de morir, cauen l'un en braços de l'altre. a la El preludi de I'òpera, amb el seu enigmàtic acord inicial, la reso­ llarga prefereixin lució del qual contradiu lotes les regles de la consonància, és una de reprimir tota acció que les pàgines més importants de la història de la música. No sols per­ defugi el control dels condensa els enunciats musicals fonamentals de l'obra i en què dirigents i no veure en constitueix una introducció captivadora, sinó també per la trans­ aquestes violències la cendència mítica -pel' a la música del segle XX- d'aquest aCOI·d de mecanismes en imatge que suspèn la tonalitat diverses línies de força contraposades i iguahnent transcendents. fundadors: simples Un vaixell du Isolde. princesa d'Irlanda, a Cornualla, on ha de desoiacions. Elfonament Franz \'011 Lcuhach: lions 1'011 B/i/orr. contraure matrimoni amb el vell rei Marke. Tristan, nebot de legal substitueix el Stuursopcr cic Mun¡c. ha estat de demanar al rei la mà de la Marke, l'encarregat per prin­ fonament violent. La cesa com a senyal de pau entre tots dos països. benedicció reial amaga, A la coberta del vaixell hi ha plantada una tenda dins la qualles la veritat del dones viuen independents de la tripulació, de l'espai dels homes. doncs, mite, seva a seu. a a Des Isolde hi descansa i la serventa, Brangane, s'està prop s'esforça fer-ho. De sobte, se sent, davallant del silenci, la cançó irònica d'un mari­ d'aleshores es podrà dir ner West\va.rts schweift del' evoca una irlande­ (<< Blick») que «verge "Tristan i Isolde" sense sa tendra j E L e A ,'i T N L' D Ió L M A H I ,'i E H S' E ,'i e A DE\' ¡\ feréstega». córrer el rise de fer-ho A M BEL P H [ L L' D I E L e A j\ THE ¡\ PA H E I X S I ,"I I� T H I e A 1\,1 E i\ T P o e esclatar tot.» D E S P H I� S A (: O ,"I P A N \' ¡\ T D' U NTH I� M O L O () I� Q u E S T HAL Q u I': de ¡\'Itillie. Sf'golls Ull gravaT doI. Poppel. I.;Òpen! PIlILII'PE ConEFHOl1) MliSC11 Rir-hun l \Vagllrl' d'l_;:'¡s(,llt!ch. N'ENFOSQUEIX L'ATMOSFEHA Lejell de l'écorché Isolde, colpida per la lletra de la cançó, esclata en violentes imprecacions - e H A N S S ALT S V O e A LS P U N T E .I A T S PEL S M O T I U S DEL ,\I A HID I� I� D E S I e: E LS ,\,1 o TILl SD' A �,I o H DEL' o H QUE,S T H A HE v E L E i'\ e o N S T A i\ T �I E x TEL S E.'1 TIT A �I A e AT, I N e o N S e I E NT, DE TAD E I I H N e I AD' - L I:: s P A H JI Ll L E S A I; lè c: SD' O D I O 1\ D F E I� I S OLD E ') malgrat les tendres súpliques de Brangane. Després fa enretirar els tapissos i veu, dempeus al timó, Tristan. La princesa envia Branga­ Viatge de l'Acte I (d'Irlanda a ne a buscar-lo. amb amabilitat amb es Tristan, però fermesa, nega Tintagel) a anal' a veure Isolde. T H I S T fi N PH o N U N c: I A E L N o MD' r s OLD I:: A M 13 -.-.� e R fi N ,'i E H V lOS I S �,I I� I A (: o l\'1 P ti .'1 Y A T PEL ¡\oJ o T I U DEL D E S I e, I corn Hipòtesis sobre el viatge d'Isolde a l'Acte III. que Brangane reitera el desig de la seva mestressa, Kurwenal, el vell 14 I H" S U M JI H e lJ NI " N T JI L H E S M JI H e LJ M E N TAL 115 «Isolde ja estava escuder de Tristan, es posa dempeus i entona davant Brangiine una del combat de Tristan contra enamorada de Tristan cançó provocadora que parla Morold, el d'Isolde. t s u N A C A N ç Ó R ús TIC A, G A I REB t I' o I' U LAR, abans del promès filtre: aquest D'EXALTACIÓ DE LA GENT DE COHNUALLA SOBRE LA GENT amor és el va salvar que D'IRLANDA, QUE S'ACABA AMB UN HIMNE A TRISTAN. MENTRE de TOTA LA TRIPULACiÓ EN REPRI�N LA Br an e Tristan de la venjança TORNADA, ang , a a costat seva se­ Marold (. .). El beuratge esglaiada, corre refugiar-se la tenda, al de la encantat no crea l'amor, nyora. sinó que en canvia la Isolde li explica el seu dolorós destí E N E L F A M Ó S M O N Ò LEC, U N A naturalesa. D 'un amor DE LES PÀGINES CABDALS DEL HEPERTORI DE LES SOPRANOS humà LA ordinari, refrenat DRAMÀTIQUES WAGNEHIANES, L'ESCHIPTURA VOCAL DE QUAL per les conveniències i les ÉS D' U N A V IOL t N C I A [M P H E S S r O N A NT. Un dia, poc després de la seu va donar asil a un afir­ lleis socials, en farà una mort de Morold, el promès, guerrer que mava dir-se Tantris. Gràcies al seu coneixement dels filtres i els bàl­ irresistible que res força li havien sams, Isolde aconsegueix guarir-lo de la ferida mortal que no podrà deturar. El infligit. Però llavors es fixa en una osca de l'espasa del desconegut, mateix en Marke, quan osca de ferro van tro­ una que corresponia exactament al bocí que coneixerà la de l'assassí del seu causa, bar al cap de Morold. Isolde, amb l'espasa atorgarà el seu consenti­ promèsalamà,s'acostaalllit-L'ORQUESTHA, MOLT MÉS LÚCIDA PEL FA ALS SEUS SENTIMENTS, ENS REVELA ment inesperat. Elfiltre QUE ISOLDE QUE Q U E L E S DU E S M I HAD E S S' E NCR E U E N -.
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  • Decca Discography

    Decca Discography

    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
  • Boston Symphony Orchestra Concert Programs, Summer, 2006

    Boston Symphony Orchestra Concert Programs, Summer, 2006

    2006 Tanglewood BOSTON SYMPHONY ORCHESTRA 125th Season, 2005-2006 Saturday, July 22, at 8:30 JAMES LEVINE conducting Please note that bass Ferruccio Furlanetto has regretfully had to withdraw from this concert performance of Don Giovanni because of illness. We are grateful that bass- baritone Luca Pisaroni has agreed at very short notice to sing the role of Leporello in Mr. Furlanetto's place. Luca Pisaroni Making his Boston Symphony Orchestra and Tanglewood debuts this evening, bass-baritone Luca Pisaroni grew up in Busseto, Parma. His musical training began at the Conservatorio Giuseppe Verdi in Milan and continued with Renato Sassola in Buenos Aires and Armen Boyajian and John Fisher in New York. His opera credits include Figaro in Le nozze di Figaro in Klagenfurt (for which he was awarded the Vienna State Opera's Eberhard-Wachter-Medal, as "young revelation of the season"), Masetto in Don Giovanni at the 2002 Salzburg Festival under Nikolaus Harnoncourt, Colline in La boheme at the Opera-Bastille in Paris, Figaro in Le nozze di Figaro at the Opera National du Rhin in Strasbourg and at the Theatre des Champs-Elysees, Alidoro in La Cenerentola in Santiago, Chile, and Guglielmo in Costfan tutte at the Mozartwochen at the Salzburg Landestheater. He returned to the 2003 Salzburg Festival for Publio in La clemenza di Tito, also reprising Masetto under Nikolaus Harnoncourt that same year. In concert, he has sung Haydn's Nelson Mass at the Salzburg Easter Festival, Zebul in Handel's Jephtha with the Berlin Philharmonic, Michael Haydn's Requiem in C minor at the Salzburg Festival under Ivor Bolton, Mozart's Coronation Mass with Jean-Christophe Spinosi, and Mozart's Mass in C Minor at the Salzburg Festival under Mark Minkowski.