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Giuseppe Verdi (1813–1901) Lebrecht Collection Lebrecht A Masked Ball Melodramma in three acts Libretto by Antonio Somma, English translation by Amanda Holden Gustavus III, King of Sweden ...... Dennis O’Neill tenor Count Anckarstroem, Gustavus’s friend...... Anthony Michaels-Moore baritone Amelia, Anckarstroem’s wife ...... Susan Patterson soprano Ulrike Arvidson, a fortune teller ...... Jill Grove mezzo-soprano Oscar, the King’s page ...... Linda Richardson soprano Count Ribbing, conspirator against the King ...... Christopher Purves baritone Count Horn, conspirator against the King ...... Brindley Sherratt bass Cristian, a sailor in the King’s Navy...... Roland Wood baritone Amelia’s Servant/Lord Chief Justice...... Ashley Catling tenor

Geoffrey Mitchell Choir London Philharmonic Orchestra Stuart Stratford assistant conductor David Parry

Giuseppe Verdi

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COMPACT DISC ONE Time Page Time Page 1 Prelude 4:04 [p. 96] 14 ‘You can rest assured’ 2:12 [p. 101] Ulrike, Cristian, Gustavus, Women, Servant Act I 15 ‘What brings you here to me?’ 1:26 [p. 102] Scene 1 16 ‘Step out towards the sunset’ 1:20 [p. 103] 2 ‘Rest Gustavus, may sweet dreams restore you’ 1:37 [p. 96] Ulrike, Amelia, Gustavus Officers, Gentlemen, Ribbing, Horn, Henchmen 17 ‘Oh, help me, God in heaven’ 2:05 [p. 103] 3 ‘The King approaches’ 1:41 [p. 96] Amelia, Ulrike, Gustavus, Voices Oscar, Gustavus 18 ‘Rise, great enchantress, speak to us all’ 0:44 [p. 104] 4 ‘There shall I gaze in ecstasy’ 2:03 [p. 96] Ribbing, Horn, Men, Oscar, Gustavus Gustavus, Ribbing, Horn, Henchmen, Oscar, Officers, Gentlemen 19 ‘Do you see the furious billows abating’ 2:53 [p. 104] 5 ‘Go with the others and wait until I call you’ 2:30 [p. 97] Gustavus, Oscar, Chorus Gustavus, Oscar, Anckarstroem 20 ‘Reckless stranger, your words are defiant’ 2:29 [p. 105] 6 ‘Please reflect upon your duty’ 2:41 [p. 98] Ulrike, Gustavus, Ribbing, Oscar Anckarstroem 21 ‘Her crazy crystal-gazing’ 3:29 [p. 106] 7 ‘The Lord Chief Justice!’ 1:30 [p. 98] Gustavus, Ulrike, Ribbing, Horn, Oscar, Chorus 8 ‘She conjures from afar, thunder and lightning’ 1:50 [p. 98] 22 ‘One thing you’ve yet to tell me’ 4:09 [p. 106] Oscar, Gustavus, Lord Chief Justice Gustavus, Ulrike, Oscar, Chorus, Ribbing, Horn, Anckarstroem, 9 ‘My friends, will you come with me’ 0:49 [p. 99] Cristian Gustavus, Anckarstroem, Oscar, Ribbing, Horn 10 ‘We can all go and see her together’ 2:06 [p. 99] Act II Gustavus, Anckarstroem, Oscar, Ribbing, Horn, Henchmen 23 [Prelude] 2:04 [p. 108] Scene 2 24 ‘Here I am in this place of retribution’ 1:25 [p. 108] 11 ‘Quiet… her trance must not be interrupted…’ 3:47 [p. 100] 25 ‘When I pluck these dark stems’ 4:58 [p. 108] Women, Children, Ulrike Ameila 12 ‘I’m first to be here!’ 2:30 [p. 101] 26 ‘Here at last’ 1:22 [p. 109] Gustavus, Women, Children, Ulrike 27 ‘You must know that I too have been aching’ 4:03 [p. 109] 13 ‘Allow me to enter’ 0:58 [p. 101] 28 ‘The sweetest words I ever heard’ 3:22 [p. 110] Cristian, Ulrike, Gustavus Gustavus, Amelia

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Time Page Time Page 29 ‘Oh God! Someone is here!’ 1:59 [p. 111] 8 ‘One indulgence I ask of you’ 4:01 [p. 118] Amelia, Gustavus, Anckarstroem Anckarstroem, Ribbing, Horn, Amelia 30 ‘My friend, I ask you a personal favour’ 0:57 [p. 112] 9 ‘So which name has been chosen?’ 1:17 [p. 119] Gustavus, Anckarstroem Anckarstroem, Ribbing, Amelia, Horn 31 ‘Do you hear how the menacing voices’ 2:05 [p. 112] 10 ‘Now Oscar may enter’ 1:05 [p. 120] Amelia, Anckarstroem, Gustavus Anckarstroem, Oscar, Amelia, Ribbing, Horn 32 ‘Stay close to me’ 2:20 [p. 113] 11 ‘Ah! I know that something wonderful’ 2:52 [p. 120] Anckarstroem, Amelia, Conspirators, Ribbing, Horn Oscar, Amelia, Anckarstroem, Ribbing, Horn 33 ‘We interrupt their stolen kisses’ 4:40 [p. 114] Ribbing, Horn, Anckarstroem, Amelia, Conspirators Scene 2 TT 78:24 12 ‘Perhaps she is safely home now’ 2:35 [p. 121] 13 ‘But if your light is lost to me’ 2:36 [p. 121] Gustavus COMPACT DISC TWO 14 ‘Ah! She is there. How can I see her’ 1:30 [p. 122] Gustavus, Oscar Act III Scene 1 Scene 3 1 ‘Your offence is not forgiven’ 2:11 [p. 116] 15 ‘The hall is filled with laughter’ 2:10 [p. 122] Anckarstroem, Amelia Chorus, Ribbing, Anckarstroem, Horn, Oscar 2 ‘I go, but in compassion’ 4:22 [p. 117] 16 ‘Why are you caring?’ 1:59 [p. 124] Amelia, Anckarstroem Oscar 3 ‘Stand up! I permit you to see your son’ 1:59 [p. 117] 17 ‘The hall is filled with laughter’ 1:49 [p. 124] 4 ‘Shame on you, who defiled my beloved’ 4:05 [p. 117] Chorus, Anckarstroem, Oscar Anckarstroem 18 ‘Ah! You are here!…’ 4:24 [p. 125] 5 ‘We are gathered. Now hear me’ 1:21 [p. 117] ‘Amelia, Gustavus Anckarstroem, Horn, Ribbing 19 ‘This is how I embrace you!’ 1:14 [p. 127] 6 ‘I’m with you’ 1:07 [p. 118] Anckarstroem, Gustavus, Amelia, Oscar, Chorus 7 ‘Let us all by our shame be united’ 0:48 [p. 118] 20 ‘She is blameless: as death approaches’ 4:20 [p. 127] Anckarstroem, Ribbing, Horn Gustavus, Amelia, Oscar, Anckarstroem, Chorus, Ribbing, Horn TT 47:54

6 7 CHAN 3116 BOOK.qxd 20/9/06 11:45 am Page 8 Bill Cooper Bill Bill Cooper/PMFBill Masked Ball is bursting with melodies and vividly presented personalities, with Verdi reaching new heights in the way he blends and balances tragic and comic themes. We have assembled a fantastic cast – I do hope you will enjoy it and that this will send you back to listen again (or purchase!) the other Verdi operas in our Opera in English collection: La traviata, Il trovatore, Ernani, Rigoletto, Aida, Otello and Falstaff.

Dennis O’Neill as Gustavus III in Welsh National Opera’s September 2004 production of Verdi’s A Masked Ball

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suggests how intimately this diversion is bound Divine mercy, and then, with the King’s Verdi: A Masked Ball up with the main plot, and the fate-driven arrival, in the warmth of human love. The music proclaims its seriousness. The smiles are most passionate Love duet in Verdi’s entire For years, the vocal score of A Masked Ball (its light accompaniment of the King’s ‘There I gone; the happy idiom of that first scene is output takes place in the shadow of the English title on the spine) was shelved in our shall gaze in ecstasy’ (‘La rivedrà nell’estasi’), revealed as a comic mask, now snatched away. gallows, but the brief spell of happiness ends local public library under ‘Light Opera, the chirpy daintiness of the Page’s ‘She conjures And though Gustavus, the King, seeks to re- in disaster. As her husband approaches, Musical Comedy etc.’. A natural mistake, one from afar’ (‘Volta la terrea’) and the rip-roaring establish conviviality with his lightly mocking Amelia lowers her veil; then, when the might think, and indeed it draws attention to finale of courtiers bent on enjoying a joke with barcarolle (‘Do you see the furious billows’, conspirators join them, lights are brought and the rarely acknowledged point that the title is the sibyl. The listener smiles, taps a foot and ‘Di’ tu se fedele’) the stage is set for tragedy. the veil disastrously slips. Again the mask is grimly ironical, almost a sick joke, like A Night would like to join in. The library-borrower, This is an opera of masks. The first scene off – and what stands revealed now still masks at the Theatre for a play about the death of doubting whether ‘musical comedy’ is quite the wears its frivolity to disguise the realities of the truth. Abraham Lincoln. term for it, is nevertheless enchanted with this treacherous plots and dangerous passions. In In the Library scene in Act III, which is so A borrower who took the score home, to discovery of Verdi’s captivating light opera. the second, the King wears the mask of much at the heart of the opera despite its play at the piano or follow on records, might ‘Now wipe that smile off your face!’ It’s as anonymity. Fortune, momentarily exposed in hero’s absence, the wronged friend and well also begin by thinking the category though Verdi, having begun the opera in his its true form by Ulrike’s prophecy, dons the husband confronts the new reality of his life as appropriate. The Prelude develops lyrically but most beguiling manner, now with three tense guise of Security as the doomed man shakes he sees it. His aria (‘Shame on you’, ‘Eri tu’) opens with a skittish little triplet-like figure, chords slaps his hand down on the table. The the hand of his trusted assassin. turns from the fateful stirrings of its dramatic playful, perhaps even cheeky, certainly comic major key suddenly and savagely turns minor. Now, at the opening of Act II, Amelia seeks introductory bars hardened by the infusion of rather than tragic in suggestion. No other of On stage the firelit gloom of the fortune-teller’s to find Nature’s cleansing drug in the place of brass, to the more tender feelings of personal Verdi’s operas starts this way, the very opposite hut replaces the splendours of Court. The death. One thing that is certain in the loss, the sweetness of times past represented by (for instance) of The Force of Destiny, which sorceress Ulrike invokes the King of Darkness listener’s mind is that the music bodes ill. harp and flute. The true nobility of this follows it in the canon. in deep tones unlike anything heard up to now. Perhaps it depicts the wild and dismal scene, woman whose unmasking has shown her in so With curtain-up, too, the genial mode of Her song tells of groans from beyond the or the turbulence of Amelia’s emotions, but we falsely ignoble a light is given body in the light opera predominates A few grumblings of grave, and the music’s chromaticism crawls like feel it as portentous, creating a mood of high grave simplicity of her aria (‘I go, but in conspiracy, an impassioned expression of love a supernatural frisson over the skin of the tension not just in the immediate present but compassion’, ‘Morrò, ma prima in grazia’). by the tenor (theoretically in private) and a living. This is the place and this the person for the unfolding action ahead. And Fortune Again, in the whole of Verdi there is probably gravely sympathetic note of caution from the assigned by the courtiers for their joke-jaunt; finds yet another mask. After the terrors of the no solo which more movingly expresses a baritone scarcely cast any deep shadow as yet. but we are there before them, and what we midnight bell and her visions of horror, heartfelt urgency with such dignity of The mood is set by the elegant melody and have seen is no joke. The arrival of Amelia Amelia takes comfort in the the hope of restraint. In both solos, it is the quality of the

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music that determines our response, and intensifies the illusion of dramatic reality (that the score, in the Love duet of Act II, for knowledge that the composer’s name could though more dramatic developments are to was fiction, this is fact), so the interpolation of instance, Amelia’s aria preceding it and the trio also be read as an acronym for ‘Vittorio follow, the serious depths of the opera are stage-music can make us forget that the score in the previous scene.1 And though as remote Emmanuele, Re d’Italia’. It was not surprising sounded here: it is in the dramatically static itself is music for the stage: in both cases, the as possible in mood and manner, the three- that the censors in the reactionary State of passages of aria that the uniquely operatic main representation, dramatic and /or musical, note figure is also that of the light, skittish Naples should reject an opera which work is done, the evocation of powerful takes a step closer to acceptance as reality. At triplet which opens the whole opera and is culminated in the assassination of a ruler; or feelings in a dramatic context through music the masked ball, the court band is playing heard on-and-off throughout. This is the final that Verdi should take his work to Rome and the singing voice. dance music at the moment of the lifting of the mask. A form of musical imagery, where a compromise was effected. The plot Masks are donned in earnest for the final assassination. The horrified guests stop the three-note figure permeates the opera, had originally centred on the assassination of scene. Before that, the King has his own solo, dancing and gradually the band stops playing appearing in many guises and finally, Gustavus III of Sweden in 1792. This was balancing in the trio of principals the great (the conductor and the fiddler next to him are broadened and ennobled, is used to embody comparatively recent history and the place not arias for Amelia and Anckarstroem. It is here probably the last people to realise what has the tragedy to which everything has been so very far from home. For the Rome that we come to know his true self – we’ve had happened). The ‘real’ score takes over, and the moving. premiere, the action was distanced in time and the popular ruler, the joker, the gallant, the mortally wounded King gives his message of Of all Verdi’s operas, A Masked Ball has place, removed to seventeenth-century Boston. lover, but, genuine as all these have been (the absolution. But the emotional climax comes as been the one most subject to misdirecting This, with Italian names for the leading music substantiates that), they are still aspects, the voices rise in full ensemble catching the commentary. Of course there is plenty that characters, remained the standard performing whereas here is the man himself. This is not – inspiration of the moment in three arched can be said about the circumstances (personal version for more than a century, the Swedish or is only in a superficial sense – a matter of phrases, each higher and broader than the last. and historical) of its composition, about the setting being reinstated with increasing what the words say: it is the music that makes It is always powerfully effective in reception of its premiere and subsequent regularity from mid-twentieth century real the agony of his decision to send his performance, even provoking an instinctive performances, about troubles with the censor onwards. friend Anckarstroem and Amelia away, (‘Ah, I sense that this is some theme which, without and consequent changes made to the setting of Now, all of this has its interest; the pity is have signed it’) and the sublimation of his still our being quite aware of it, has permeated the the action and names of the characters. The that producers, critics and scholars have painful desires. This is the man without a opera and is now heard in its apocalyptic opera was written in 1859, a crucial year in focused attention on such matters as though mask. But that is to be enforced eventually by moment. the struggle for Italian unification. The they were central to an appreciation of the a still more powerful stroke of metamorphosis If so, it is for a very good reason: it happens Austrians were driven from Lombardy and a opera. To read some modern commentaries, in the score at what is to be the musical and to be true. These ‘arches’ are essentially national parliament was planned. The opera- one might assume that it is important to emotional climax of the opera. melodic phrases of three notes, the middle one loving Italians could cry ‘Viva Verdi!’ and understand this chapter of Swedish history The catastrophe is effectively managed. Just being the highest. It is a figure that has mean it, but the fervour of their acclamation and, incidentally, to give weight to the notion as the device of a play-within-a-play effectively occurred at certain key moments throughout was gleefully reinforced by the common that Gustavus was homosexual. The ideals of

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the Risorgimento and general concerns about time when such operas were out of fashion pressure of time in composing A Masked Ball. to be made; the location was moved from enlightenment and subversion are also among people of culture and intelligence, the He did it in two and a half months, and Stockholm, the King became a Duke, and the canvassed in the modern critical endeavour to thrill of great singing still carried the show. As perhaps that helps to explain why, though action moved back in time, with the title of establish what the opera is ‘about’. It is at least a whole, A Masked Ball failed to convince none of his scores is more varied in its scope, the opera now becoming Una vendetta in partly because of such preoccupations that when it was revived at Covent Garden in none is possessed of a closer, more organic domino. However, when the finished libretto A Masked Ball has been particularly subject to 1919, but, as one critic reported ‘Who cares a unity. was submitted to the censors in January 1858 ‘concept’ stage-productions which at worst fig for dull convictions when Martinelli further problems ensued. Shortly before the have so misled the mind through the eye that [Giovanni Martinelli, the tenor of that © 2004 John Steane composer arrived in Naples in January 1858 only a marginal, subsidiary function remains performance] is throwing at you treasures of with his opera to all intents and purposes for the ear. tone in that prodigal fashion?’ We think of all 1The point has been developed more fully in completed, there had been an assassination The perversity of this will be apparent to the great singers who have performed the three the writer’s essay on Un ballo in maschera in attempt on Napoleon III in Paris, and it was listeners who come afresh to the opera now in main parts, with occasionally outstanding the Salzburg Festival programme, 1990. clear that even the revised storyline would no this English translation, just as it must be to achievements by the Oscar and Ulrike: these longer be acceptable. The management at San those who know and love it through are part of the opera’s cumulative inheritance. A Masked Ball: a history Carlo came up with a new story, but Verdi performances in the original Italian. Particular But, essentially, for what A Masked Ball is, you The history of Verdi’s Masked Ball is somewhat rejected this, and his contract with the theatre advantages of an English text for an English- have to summon to mind its notes, the sound chequered. By the beginning of 1857 the was dissolved. speaking public include the likelihood of a of it. The great arias, famous on records long composer had agreed to write a new opera for Verdi knew that a play had been produced clearer understanding of the conspiracy, the before there was a single complete recording, the Teatro San Carlo in Naples. His first idea in Rome on the subject of Gustavo III, and reason for the King’s proposed visit to the tell much. The Love duet of Act II (‘It is many to write a work based on King Lear, to a decided to try and produce his opera there. Sorceress, and the details of warnings and a month since I heard such a spontaneous libretto by Antonio Somma, fell by the The censors did make certain stipulations, recognition at the Ball. But in large measure outburst of applause’ writes the same critic wayside because of Verdi’s disappointment but compromises were reached, and the the music and action tell their story together, about that performance in 1919) and the with the theatre’s singers. By September of that action was moved away from Europe to whether in English or Italian. And without ensembles of Act I also rise thrillingly in the year he had come up with another suggestion: North America, King Gustavus becoming Verdi’s music (though you would scarcely memory. And crowning all will be that that Somma should adapt Eugène Scribe’s ‘Conte di Warwick’. In September 1858 gather as much from most present-day sublime arching phrase, the soprano’s voice libretto to Auber’s opera Gustave III, ou Le bal Somma sent the final libretto to Verdi, who reviews), the words and actions are artistically touching the high C, in the scene of the King’s masqué, which had been premiered in Paris in had meanwhile re-cast portions of the opera. without value or power of survival. death, which in turn binds up so much, 1833. Fully completed by January 1859, the A factor in the opera’s survival is the glory through that three-note figure scattered After a synopsis was submitted to the premiere took place at Rome’s Teatro Apollo of Verdi’s writing for the singing voice. At a throughout the opera. Verdi was under intense censors in Naples in November, changes had the following month.

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Synopsis Scene 2 Act II his house the next morning. Anckarstroem 11 Ulrike, surrounded by women and boys, 23 It is midnight beneath the gallows. escorts his wife back to the city. COMPACT DISC ONE performs a Satanic ritual. 12 The King arrives 24 – 25 Amelia has come to find the herb, in disguise. 13 When Ulrike prophesies a and is tormented by her conflict between love COMPACT DISC TWO Act I promotion for a young sailor, Cristian, 14 the and duty. 26 – 28 She is astonished when the Scene 1 King quickly writes a note on a roll of money King appears and declares his love for her. Act III 1 – 2 A group of courtiers and petitioners and slips it carefully into the sailor’s pocket. Although she emphasizes that she is married to Scene 1 waiting for the King includes both his Thus Ulrike’s prophecy is fulfilled, and those his closest friend, in the end she has to admit 1 Anckarstroem prepares to kill Amelia in supporters and a number of malcontents, present acclaim her powers. that she returns his love. revenge for her adulterous affair with the led by Count Ribbing and Count Horn, Amelia’s servant enters, and requests an 29 Anckarstroem surprises them together, King. She admits her love for Gustavus, but who are plotting the King’s assassination. interview on behalf of his mistress. Ulrike sends but in the darkness does not recognise his wife. insists that she has not betrayed her husband. 3 – 4 When Oscar, the King’s page, shows away the crowd, but Gustavus hides 15 He is He has followed the King, aware of the risks 2 Her protestations ignored, she realises that him the list of guests for his planned masked amazed when Amelia arrives. She has come to that he is constantly taking. The conspirators death is inevitable and begs to say a last ball, he is excited to see the name of Amelia, ask Ulrike’s advice about her guilty love for the are approaching. Anckarstroem persuades goodbye to her son. 3 – 4 Anckarstroem the wife of his friend and secretary King. 16 Ulrike tells her to pick a herb at mid- Gustavus to escape, while he wards off the agrees and, left alone, he turns his anger Anckarstroem. 5 Nobody knows of his secret night beneath the gallows. 17 When she agrees conspirators. 30 – 31 After muffled pleas from against Gustavus, deciding that it should be love, and Anckarstroem interprets his to go, Gustavus, decides that he follow her there. Amelia, Gustavus agrees, on condition that his the King who dies. 5 When Ribbing and moodiness as a justified fear of conspiracy. 18 – 19 The courtiers and Oscar arrive in friend neither asks the woman her name, nor Horn arrive, Anckarstroem tells them he 6 Gustavus refuses to listen to Anckarstroem’s disguise and taunt Ulrike. Disguised as a looks at her face, but escorts her within the city knows of their conspiracy against the King, warnings, preferring to trust in the love of his fisherman, 20 – 21 the King asks Ulrike to tell gates. Anckarstroem promises to honour this but asks to join them, 6 offering the life of people to protect him. his fortune. Not knowing him to be Gustavus, request, and the King leaves. his son as a pledge of good faith. 7 They 7 The Lord Chief Justice arrives, she says that he is unlucky and, when pressed, 32 The conspirators apprehend the people decide to draw lots to decide who should demanding that the King take action against predicts his death. 22 His murderer will be the they take to be Gustavus and his new love. strike the death-blow. 8 Amelia enters and Ulrike, a gypsy who, it is said, can see into next person to shake his hand. Anckarstroem, Discovering Anckarstroem, they try to force Anckarstroem tells her that in a vase there are the future. 8 Oscar gives a spirited defence arriving late, greets the King, and so seems to him to reveal the lady’s identity. Amelia, slips of paper with names on, and he orders of the woman, 9 – 10 which prompts the contradict the prophecy, particularly since it is terrified by the threat to her husband, lets slip her to choose one. 9 She draws her husband’s King to propose they go in disguise to visit only now that Ulrike recognises her guest. She her veil. Anckarstroem is appalled. 33 As the name, and realises what is going on. Ulrike. They arrange to meet later that day at continues to warn him against conspiracy, but conspirators leave, full of laughter at his 10 – 11 Oscar enters with an invitation to a her hut. Gustavus ignores her. expense, he asks Ribbing and Horn to come to masked ball that evening, and Anckarstroem

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accepts on behalf of himself and his wife. The Born in Wales of Irish Munich, he has appeared in Un ballo in the first British winner ball will be the perfect opportunity to commit and Welsh parents, maschera, Il trovatore, Der Rosenkavalier, Tosca, of the Luciano the murder. Together the conspirators decide Dennis O’Neill is one Lucia di Lammermoor, Simon Boccanegra, Aida Pavarotti Competition on their costume and on a password: ‘murder’. of the world’s leading and Otello. Elsewhere in Europe he has visited in 1985. He has had a tenors and a specialist the opera houses of Vienna, Berlin, Bonn, long and fruitful Scene 2 in the works of Verdi. Cologne, Hamburg, Nice, Zurich, Paris, Oslo, relationship with the 12 – 13 Gustavus has decided to send He has enjoyed a long Brussels, Barcelona, Oviedo, the Arena di Royal Opera House, Anckarstroem and Amelia away from his court. association with the Verona and Turin. He enjoys a close Covent Garden 14 Oscar gives the King an anonymous letter Royal Opera House, relationship with Welsh National Opera and becoming a member warning him of the risk of assassination at the Covent Garden, where has a busy and varied concert career. of the Company, and ball, but the King is determined to use the his many roles have included Rodolfo Dennis O’Neill’s own television series for appearing in many roles including Belcore party as a chance to see Amelia one last time. (La Bohème), Duca (Rigoletto), Pinkerton the BBC were enormously popular and he has (L’elisir d’amore), Marcello (La Bohème), Silvio (Madama Butterfly), Edgardo (Lucia di subsequently completed a television film on (Pagliacci), Ping (Turandot), Ned Keene (Peter Scene 3 Lammermoor), Macduff (Macbeth), Gustavo Caruso, and another featuring famous movie Grimes), Falke (Die Fledermaus), Figaro 15 – 17 At the masquerade. As it is a masked (Un ballo in maschera), Foresto (Attila), Otello, themes. His many recordings include, as part (Il barbiere di Siviglia), Lescaut (Massenet’s ball, Anckarstroem needs to find out from Don Carlos, Radames (Aida), Carlo (Giovanna of Chandos’ Opera in English series, Turandot, Manon), Stankar (Stiffelio), Scarpia (Tosca) and Oscar the King’s disguise, which Oscar d’Arco), and Jacopo (I due Foscari). Tosca, La Bohème, Cavalleria rusticana, the title role in concert performances of the discloses. 18 Amelia also identifies Gustavus, For the Metropolitan Opera he has Pagliacci, as well as two discs of Great early version of Simon Boccanegra. He has but despite her pleading, she cannot persuade appeared as Alfredo (La traviata), Radames Operatic Arias, and, with other companies, returned as a guest to perform the title role in him to leave the party. They declare their (Aida), in La Bohème, Rigoletto, and as La fanciulla del West under Slatkin, Verdi’s Macbeth, Count (Le nozze di Figaro), and love for each other, 19 but Anckarstroem Turiddu (Cavalleria rusticana) and Canio Requiem under Sir Colin Davis, and an Rolando (Il battaglia di Legnano). throws himself between then and commits (Pagliacci). Other North American anthology of Italian Song. Dennis O’Neill was For English National Opera he has sung the planned murder. The masks are ripped engagements have included Chicago Lyric awarded the CBE in the 2000 New Year’s Zurga (The Pearl Fishers), Marcello off, revealing the assassin as Anckarstroem. Opera, San Francisco, San Diego, Vancouver Honours list. (La Bohème), Count (Figaro’s Wedding), 20 With his dying words Gustavus protests Opera and concerts with the Philadelphia, Yeletsky (The Queen of Spades) and the title Amelia’s innocence and pardons his friend. The Cleveland, Montreal, and Ottawa Anthony Michaels-Moore studied at role in Eugene Onegin; with Opera North he people express their love for the murdered King. Symphonies, and for the Cincinnati Festival. Newcastle University and at the Royal Scottish has appeared as Escamillo (Carmen), Marcello He has appeared in São Paolo and Santiago. Academy of Music and Drama with Eduardo (La Bohème), Figaro (The Marriage of Figaro), © Chandos Records Ltd A frequent guest at the Bayerische Staatsoper, Asquez, and now with Neilson Taylor. He was Germont (La traviata), Posa (Don Carlos), and

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in the title role of Hamlet. Welsh National production of Ernani Comique in L’occasione fa il ladro. La traviata (Die Meistersinger von Opera has seen him as Figaro (The Barber of with the Reisopera in has been a dominant opera in Susan Nürnberg) conducted Seville) and Eugene Onegin. Abroad he has the Netherlands; Patterson’s career, and she has performed it by Levine, Madelon appeared with Chicago Lyric Opera, at La Mme. De Tourvel throughout the USA, as well as with (Andrea Chenier), Scala, Milan, with the Vienna State Opera, the (Dangerous Liaisons) Vancouver Opera, Montreal Opera, English Pantalis (Boito’s Metropolitan Opera in New York, San and Tosca with the National Opera, Welsh National Opera, and Mefistofele), Emilia Francisco Opera, Pittsburgh Opera, Opéra de Washington Opera; Canadian Opera Company. (Otello), and Mary Paris and Opéra de Paris-Bastille, La Monnaie, Mimì (La Bohème) Susan Patterson’s concert appearances (Der fliegende San Carlo Napoli, Teatro Del Liceu in and Aida with the include Handel’s Jephtha and Messiah, Holländer) conducted Barcelona, at Spain’s Oviedo Festival, Bayerische Baltimore Opera; Mendelssohn’s Elijah, Poulenc’s Gloria, by Valery Gergiev. Staatsoper in Munich, at the Deutsche Oper and Manon Lescaut Rossini’s Stabat Mater, Beethoven’s Ninth Other American operatic appearances have Berlin and at the Teatro Colón in Buenos Aires. at the Spoleto Festival USA. She made her La Symphony in Lisbon, and Egmont with the included First Norn (Götterdämmerung) with On the concert platform, Anthony Scala debut under Riccardo Muti in San Francisco Symphony under Kurt Masur. Dallas Opera, Azucena (Il trovatore) with Tulsa Michaels-Moore has sung under conductors Cherubini’s Lodoiska. She sang the Verdi She has also sung Szymanowski’s Stabat Mater Opera, Mistress Quickly (Falstaff ) with Santa such as Sir Colin Davis, Riccardo Muti, Requiem with the Washington Opera under and Mahler’s ‘Resurrection’ Symphony with Fe Opera, and the world premiere of Tobias Michael Tilson Thomas, Sir David Willcocks, Placido Domingo on the 100th anniversary of the Los Angeles Philharmonic. Picker’s The Fantastic Mr. Fox for Los Angeles Andrew Davis, Neeme Järvi, Nikolaus the composer’s death and has appeared in a As part of Chandos’ Opera in English series Opera. In Europe she has sung at the Théâtre Harnoncourt, André Previn, Michael Gielen, benefit concert in Monte Carlo with Luciano she has recorded the role of Elvira in Verdi’s du Châtelet in Paris, with the Netherlands Leonard Slatkin, Rafael Frühbeck de Burgos, Pavarotti. Ernani, and Electra in Idomeneo. Other Opera (Deaconess in Szymanowski’s King John Eliot Gardiner and Sir Neville Marriner. She has performed frequently with the San recordings include Le Comte Ory and Roger), Welsh National Opera (Ulrike in His recordings include Szymanowski’s Stabat Francisco Opera in roles including Angelica Il matrimonio segreto. Un ballo in Maschera), and English National Mater, Carmina Burana, La vestale, The Fairy (Vivaldi’s Orlando Furioso), Anne Trulove Opera (Marfa in Khovanshchina). Queen, and Mercadante’s Orazi e Curiazi for (The Rake’s Progress), Constanze (The Jill Grove attended the Music Academy of the Jill Grove collaborates regularly with the Opera Rara. Abduction from the Seraglio), Fiordiligi (Così West, the New England Conservatory and world’s leading orchestras and conductors. fan tutte), and Helena (A Midsummer Night’s Stephen F. Austin State University. She She has performed Beethoven’s Ninth Susan Patterson has taken her place as a new Dream). In Europe, she has performed with currently lives in New York and studies with Symphony with the Los Angeles leading lirico-spinto soprano with highly the Netherlands Opera in Le Comte Ory and Patricia McCaffrey. Philharmonic, and the Atlanta, Houston and successful portrayals of Margarita/Helena in Mitridate, in Aix-en-Provence as Constanze, Jill Grove’s roles at the Metropolitan Opera, Detroit Symphonies. She has performed Boito’s Mefistofele; Dvorˇák’s Rusalka; a new and with the Cologne Opera and Paris Opéra- New York, have included Magdalene Mahler’s Third Symphony at the Schleswig-

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Holstein Festival and with the Houston for Welsh National Opera and Opera North; Born in Lancashire, Royal Opera House, Covent Garden; Melisso Symphony, Beethoven’s Missa Solemnis, Podesta (La gazza ladra) for Garsington Brindley Sherratt (Alcina) for the Opéra de Montpellier; Prokofiev’s Alexander Nevsky with the National Opera; Siegfried (Genoveva) and Dulcamara studied trumpet and Immigration Officer (Jonathan Dove’s Flight) Symphony Orchestra, and Bernstein’s (L’elisir d’amore) for Opera North. He created singing at the Royal for de Vlaamse Opera; Superintendent Budd ‘Jeremiah’ Symphony at the Ravinia Festival. the role of Executioner in James Macmillan’s Academy of Music. (Albert Herring) for Glyndebourne Touring As a member of the Houston Grand Opera Ines de Castro and has performed Macmillan’s His regular concert Opera; and Basilio (Il barbiere di Siviglia) and Studio, she has performed numerous roles Parthenogenesis at the Edinburgh Festival, appearances include Commendatore (Don Giovanni) for with the company including Anne Kronenberg where he has also appeared as Cecil in Maria St John Passion with Garsington Opera. Other appearances have in the world Premiere of Harvey Milk, and Stuada under Sir Charles Mackerras. Trevor Pinnock in included Haydn Masses on tour in Switzerland Tisbe in La Cenerentola with Cecilia Bartoli. Concert engagements include Mozart’s Mass London and Lucerne, with Sir John Eliot Gardiner and the in C at Aix-en-Provence with the Sixteen, Mozart’s Requiem and C Minor Mass at the Monteverdi Choir, Messiah in the USA with Christopher Purves Monteverdi’s Vespers 1610 with Richard Swansea and York Festivals with Jane Glover Robert King, St Matthew Passion with Trevor studied English at Hickox, Bach’s B Minor Mass at the and the London Mozart Players, Judas Pinnock in Vienna, Salzburg, Paris and Japan, King’s College, La Chaise-Dieu Festival, Handel’s Judas Maccabeus and Mozart Vespers at the opening Bach Cantatas with Gardiner, and The Cambridge before Maccabeus in Nuremberg and Saul with the of the Symphony Hall with the City of Creation with Pinnock at the Lausanne Festival performing and Gabrieli Consort at the Covent Garden and Birmingham Symphony Orchestra, St John recording with the La Chaise Dieu Festivals, John Tavener’s Passion in Bonn, Stravinsky’s Les Noces in Paris Linda Richardson highly innovative Apocalypse at the Proms with the City of with Pierre Boulez and the Ensemble was born in Cheshire vocal rock and roll London Sinfonia, Les Mamelles de Teresias with Intercontemporain, Stravinsky’s Canticum and studied at the group, Harvey and the London Sinfonietta under Sir Simon Sacrum in Paris with the BBC Symphony Royal Northern the Wallbangers. With Rattle, Britten’s War Requiem and Haydn’s Orchestra, Dallapiccola’s opera Il prigioniero in College of Music the group’s demise in Creation with the Ulster Orchestra, and Turin, and Messiah and Texeira’s Te Deum with where she was a 1988, he resumed vocal training with David Belshazzar’s Feast with the English Northern Harry Christophers in Hong Kong. His many Peter Moores Keren, Diane Forlano and Janice Chapman. Sinfonia under Paul Daniel and with the broadcasts for radio include Mozart’s C Minor Scholar, and then at His operatic engagements include Figaro Hallé. Christopher Purves gave his debut Mass, Rossini’s Petite Messe solennelle, the National Opera Studio. (Le nozze di Figaro) for Welsh National Opera, recital at the Aldeburgh Festival in June 2004. Panufnik’s Winter Solstice and Stravinsky’s An English National Opera Company Scottish Opera and Opera North; Marcello His recordings include the title role in The Canticum Sacrum. Principal, her roles there have included (La Bohème) for Scottish Opera; Papageno Marriage of Figaro and Gottardo (The Thieving Roles have included Publio (La clemenza di Fiordiligi (Così fan tutte), Lauretta (Gianni (The Magic Flute), Faninal (Der Rosenkavalier) Magpie) for Chandos’ Opera in English series. Tito) and Plutone (L’anima del filosofo) for the Schicchi), Micaëla (Carmen), Gretel (Hansel

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and Gretel ), Gilda (Rigoletto), Zerlina (Don Foundation and by a scholarship from Geoffrey Mitchell’s singing career has Giovanni), Sophie (Der Rosenkavalier), Mimì English National the Friends of Covent encompassed a remarkably wide repertoire (La Bohème), Violetta (La traviata), Woglinde Opera. Garden and a Nelly from early to contemporary music and has (The Rhinegold), Helena (A Midsummer Night’s He began his Groner Bursary. taken him to Scandinavia, Germany, the Dream) and title roles in The Fairy Queen and operatic career as a Operatic roles to former Czechoslovakia, Canada and Alcina. She has sung Karolka (Jenu˚fa), Mimì, bass-baritone and his date include Ferrando Australasia. Early conducting experience with Nanetta (Falstaff ), Pamina (Die Zauberflöte) early roles included (Così fan tutte), the BBC led to a wider involvement with his and Violetta with Opera North; Lisetta Silva (Ernani) and Nemorino (L’elisir own singers and in turn to the establishment (La vera constanza) at Garsington, Norina Colline (La Bohème); d’amore), Ernesto of the Geoffrey Mitchell Choir. Early (Don Pasquale) for Clonter Opera, and Luka (The Bear) and (Don Pasquale), Fenton recordings resulted in the Choir’s long-term The Fairy Queen in Barcelona. Martino (L’Occasione fa il ladro) for the Walton (Falstaff ) and Male Chorus (The Rape of involvement with Opera Rara for which it has Concert appearances include premieres of Trust in Ischia; and Zaretsky (Eugene Onegin) Lucretia). made over thirty recordings. The Choir is various unknown works by Haydn with the for European Union Opera. Having made the He has appeared in concert at the Barbican, enjoying a growing reputation with further English Haydn Festival, Brahms’s Requiem transition to baritone, more recent roles Royal Glasgow Concert Halls, Queen Elizabeth work from the BBC and international record with the Northern Sinfonia, Messiah with the include Josev Prasov in the world premiere of Hall, St John’s Smith Square and St Martin companies. For Chandos the Geoffrey English Chamber Orchestra in Spain, Britten’s The Bridge and The Count (The Marriage of in the Fields, and performances include Mitchell Choir has participated in numerous Les Illuminations with the Netherlands Radio Figaro) at the RNCM and Opera Holland Park. St Matthew Passion, a recital of Britten songs recordings in the acclaimed Opera in English Chamber Orchestra and Carmina Burana at He has also covered a number of roles for for voice and harp at Aldeburgh, and European series sponsored by the Peter Moores the Royal Festival Hall. Linda Richardson Glyndebourne Festival Opera and English and USA tours performing and recording Steve Foundation. appeared as Annie in Jonathan Dove’s TV National Opera and made his debut at English Reich’s new video opera Three Tales. opera When She Died on Channel 4, and her National Opera as the Baron (La traviata). Performances include Die Fledermaus in The London Philharmonic Orchestra has a recordings include Hearts and Flowers, a Roland Wood is a Company Principal at Dublin Grand Opera House, Normanno long-established reputation for its versatility collection of Victorian Parlour Songs. Scottish Opera, where roles have included (Lucia di Lammermoor) with Opera Holland and artistic excellence. These traits are evident Dr Falke (Die Fledermaus), Marullo (Rigoletto) Park, Gawain in the premiere of Lynne from its performances in the concert hall and Roland Wood was born in Berkshire and and Papageno (Die Zauberflöte). Plowman’s opera Gawain and the Green Knight opera house, its many award-winning studied at the Royal Northern College of with Music Theatre Wales, and Tamino recordings, its trail-blazing international tours Music with Patrick McGuigan and Robert Ashley Catling studied at the Guildhall School (The Little Magic Flute) with Opera North. and its pioneering education work. Kurt Alderson, then at the National Opera Studio of Music and Drama with William McAlpine Recordings include Contrabandista, and Masur has been the Orchestra’s Principal with support from the Peter Moores and at the National Opera Studio, supported L’Esule di Granata for Opera Rara. Conductor since September 2000. Previous

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holders of this position, since its foundation National Opera and Opera North and appears Belgian Prix Cecilia for Donizetti’s Rosmonda Carmen, The Thieving Magpie, Don Giovanni, in 1932 by Sir Thomas Beecham, have regularly with the Philharmonia and London d’Inghilterra. For Chandos he has conducted a Don Pasquale, The Elixir of Love, Lucia of included Sir Adrian Boult, Sir John Pritchard, Philharmonic Orchestras. In 1996 he made his series of recitals of operatic arias – with Bruce Lammermoor, Ernani, Il trovatore, Aida, Faust, Bernard Haitink, Sir Georg Solti, Klaus debut at the Glyndebourne Festival Ford, Diana Montague, Dennis O’Neill, Cavalleria rusticana, Pagliacci, La bohème, Tennstedt and Franz Welser-Möst. Since 1992 conducting Così fan tutte, following it in 1998 Alastair Miles, Yvonne Kenny, John Turandot, the award-winning Tosca and the London Philharmonic Orchestra has been with the world premiere of Jonathan Dove’s Tomlinson, Della Jones and Andrew Shore – highlights from Der Rosenkavalier, all in Resident Symphony Orchestra at the Royal Flight. as well as The Marriage of Figaro, Idomeneo, association with the Peter Moores Foundation. Festival Hall. It has also been Resident He is a frequent visitor to Spain where he Symphony Orchestra at Glyndebourne Festival has given concerts with most of the major Opera since 1964. Spanish orchestras. He conducted the Spanish premiere of Peter Grimes in Madrid and David Parry studied in 1996 the first Spanish production of with Sergiu The Rake’s Progress. He has appeared in Celibidache and Germany, Switzerland, and The Netherlands, began his career as at the Pesaro Festival in Italy, the Hong Kong Sir John Pritchard’s International Festival, in Japan with a tour of assistant. He made Carmen, and in Mexico with the UNAM his debut with Symphony Orchestra. Recent new productions English Music he has conducted include Fidelio at the New Theatre, then became Zealand Festival, Lucia di Lammermoor at New a staff conductor at Israeli Opera and Don Giovanni at Staatsoper Städtische Bühnen, Dortmund and at Opera Hannover. North. He was Music Director of Opera 80 His work in the recording studio includes from 1983 to 1987 and since 1992 has been the BBC Television production of Marschner’s the founding Music Director of Almeida Der Vampyr and twenty-eight complete opera Opera. recordings under the sponsorship of the Peter He works extensively in both opera and Moores Foundation. Among these are concert, nationally and internationally. He has numerous discs for the Opera Rara label conducted several productions at English which have won several awards, including the

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British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 of a Faculty Directorship and Chair of Management Studies at Oxford University (providing to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust the lead donation which paved the way for the development of the Said Business School). in 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £93 million to a wide variety of arts, environmental and social causes ‘to get In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in things done and open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a world-class art gallery that would provide an especially welcoming environment for the number of young artists in the crucial, early stages of their careers, several of whom – ‘first-time’ gallery visitor. The gallery, which houses six permanent collections, a Learning Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – Centre for all ages, and facilities for major visiting exhibitions, was opened in March 2004 became world-famous. 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 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.

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Anthony Michaels-Moore in the ArenaPAL

Clive Barda Clive title role of The Royal Opera’s production of Verdi’s Macbeth

Susan Patterson as Violetta in Welsh National Opera’s production of Verdi’s La traviata

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sie den Herrn der Unterwelt beschwört, sind Todgeweihte dem Mörder, den er für seinen Verdi: Ein Maskenball ganz neu. Sie spricht vom Stöhnen, das aus treuen Freund hält, die Hand reicht. dem Grab dringt, und die Chromatik, die es Zu Beginn des zweiten Akts sucht Amelia In der Leihbibliothek meines Bezirks wurde Verschwörer, die leidenschaftliche begleitet, gleitet wie ein übernatürlicher bei Mitternacht an der Richtstätte das Kraut, der Klavierauszug von Verdis Ein Maskenball Liebeserklärung des Tenors (theoretisch im Schauer über die Haut der Lebenden. Hier von dem sie sich Läuterung erhofft. Dem (englischer Titel A Masked Ball ) auf dem Geheimen) und die ernste, wohlgemeinte versammeln sich die Höflinge, um mit Ulrike Hörer begreift sogleich, dass die Musik Böses Buchrücken jahrelang im Regal “Operette, Warnung des Baritons werfen kaum ihre ihren Spott zu treiben, aber wir sind vor ihnen ahnen lässt. Vielleicht empfindet er sie als die Musical usw.” aufbewahrt. Das ist gar nicht so Schatten voraus. Die elegante Melodie und angekommen und wissen, dass das, was wir Beschreibung der wilden, öden Landschaft ausgefallen und streicht sogar die nur selten leichte besetzte Begleitung der Königs “Ha, sehen, blutiger Ernst ist. Amelias Ankunft oder Amelias erregter Gefühle; jedenfalls ist sie anerkannte grimme Ironie des Titels hervor; er welche hohe Wonne” (“There I shall gaze in weist schon auf die Bedeutung dieses schicksalhaft und lässt eine angespannte ist beinahe ein geschmackloser Witz, wie ecstasy”), die spritzige Anmut des Pagen “Mit scheinbaren Exkurses von der eigentlichen Stimmung entstehen, die sich nicht nur auf Ein Abend im Theater für ein Drama über die starrem Angesicht” (“She conjures from afar”) Handlung hin und die schicksalhafte Musik die unmittelbare Gegenwart, sondern auch auf Ermordung von Präsident Abraham Lincoln. und das ausgelassene Finale der Höflinge, die betont, wie bedenklich die Situation ist. Nun die kommenden Ereignisse auswirkt. Nun Wer sich den Auszug mit nach Hause sich über die Wahrsagerin lustig machen, legen wird nicht mehr gelächelt; vielmehr stellt sich trägt auch das Schicksal eine neue Maske. nimmt, um ihn auf dem Klavier die Stimmung fest. Vielleicht fragt sich der heraus, dass der Frohsinn der ersten Szene nur Schreckerfüllt hört Amelia Mitternacht durchzuspielen oder zu studieren mit den Besucher der Leihbbibliothek, ob die eine komische, jetzt schroff gelüftete Maske schlagen, sie erblickt schauerliche Visionen, Schallplatten mitzulesen, wird zu Beginn an Bezeichnung “musikalische Komödie” wirklich war. Obwohl König Gustav mit seiner etwas dann tröstet sie sich mit der Hoffnung auf die der Kategorie vielleicht nichts auszusetzen zutrifft, aber von seiner Entdeckung dieser sarkastischen Barkarole “O sag, wenn ich fahr’ Gnade des Himmels. Nun betritt auch der haben. Das Vorspiel entfaltet sich lyrisch, aber bezaubernden leichten Oper aus der Feder des auf stürmischen Wogen” (“Do you see the König die Richtstätte, die beiden gestehen sich das winzige, aus drei Noten bestehende Motiv, Meisters ist er gewiss begeistert. furious billows”) die frühere gute Laune ihre Liebe, und im Schatten des Galgens das es eröffnet, ist geradezu übermütig, sogar “Jetzt werden andere Saiten aufgezogen!” Es wieder herzustellen trachtet, ist die Tragödie ertönt Verdis leidenschaftlichstes Liebesduett. frivol – jedenfalls ist das Ambiente nicht scheint, als schlage Verdi nach den bereits im Anzug. Doch das Glück währt nicht lange, denn ihr tragisch, sondern eher komisch. Keine andere bestrickendsten Klängen der ersten Szene mit Die Oper macht ihrem Namen “Ein Gatte Anckarström eilt herbei, um den König Oper aus Verdis Feder fängt ähnlich an; so ist drei aufwühlenden Akkorden mit der Faust Maskenball” Ehre. Hinter der Frivolität der zu warnen. Schließlich sieht sie sich genötigt, die nächste in der Reihenfolge, Die Macht des auf den Tisch. Dur verwandelt sich plötzlich ersten Szene verbergen sich Verrat und ihren Schleier zurückzuschlagen. Die Maske ist Schicksals, etwas ganz Anderes. und brutal in Moll. Anstelle des Glanzes am gefährliche Leidenschaften. In der zweiten Szene gefallen – doch was sie enthüllt, gibt die Auch nachdem sich der Vorhang geöffnet Königshof ist die Bühne in den trüben trägt der König die Maske der Anonymität. Das Wahrheit noch immer nicht zu erkennen. hat, ist die vorherrschende Stimmung Feuerschein in der Hütte der Wahrsagerin vorübergehend in Ulrikes Weissagung In der ersten Szene des dritten Aktes, die überwiegend jovial. Das Murren der Ulrike getaucht. Die tiefen Töne, mit denen verkündete Schicksal scheint harmlos, als der trotz der Abwesenheit des Protagonisten der

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eigentliche Mittelpunkt der Oper ist, setzt sich König ein Solo, das nach den Arien der beiden beiden Fällen beginnt man, die Darstellung, der leichten, frechen Triole im Vorspiel, die im der betrogene Freund und Gatte mit der anderen Hauptpersonen, Amelia und ob dramaturgisch oder musikalisch, für Lauf der Oper wiederholt erklingt, wenngleich vermeintlichen neuen Situation auseinander. Anckarström, das Gleichgewicht wahrt. Jetzt wirklich zu halten. Während des Maskenballs die Stimmung denkbar anders ist. Nun ist die Seine große Arie “Oh, nur du hast dies Herz gibt sich der wahre Mann zu erkennen; bislang spielt die Hofkapelle zum Tanz auf, als der Maske endgültig gelüftet. Das Motiv, eine Art mir entwendet” (“Shame on you”) entwickelt war er der beliebte Herrscher, der Spaßmacher, Mord begangen wird. Die entsetzten Gäste musikalische Metapher, durchzieht auf sich von den unheilvollen, von Blechbläsern der Galan, der Liebhaber. Alles ist aufrichtig stellen das Tanzen ein und allmählich verschiedene Weise das ganze Werk und dient verschärften Takten der Einleitung zu empfunden (das bezeugt die Musik), aber es verstummt auch die Kapelle (die letzten, die schließlich in erhabenerer Gestalt zur gefühlsbetonten Betrachtungen über seinen waren nur Aspekte seines Charakters; diese begreifen, was geschehen ist, sind Verkörperung der Tragödie, auf die sich alles Verlust; er gedenkt vergangener seliger Stunden, Arie zeigt den ganzen Mann. Die Worte sind wahrscheinlich der Kapellmeister und der zugespitzt hat. die von Harfe und Flöte untermalt werden. Der beinahe nebensächlich: vielmehr ist es die Geiger, der neben ihm steht). Nun kommt die Keine von Verdis sämtlichen Opern hat so echte Edelsinn der Frau, die sich demaskiert Musik, die seine Seelenqualen, die der “echte” Musik wieder ins Spiel; der zu Tode viele irreführende Kommentare erfahren wie und dadurch in ein gänzlich falsches Licht verzweifelte Entschluss verursacht, seinen getroffene König verzeiht seinen Mördern. Ein Maskenball. Sicher bieten die persönlichen gerückt hat, kommt in ihrer schlichten, seriösen Freund Anckarström und Amelia nach Der affektive Höhepunkt erfolgt aber erst, als und historischen Umstände ihrer Entstehung, Arie “Der Tod sei mir willkommen” (“I go, but England zu versetzen (“Hier steht mein das Ensemble die Inspiration des Augenblicks die Rezeption bei der Premiere und später, die in compassion”) wunderbar zum Ausdruck. In Name” – “Ah, I have signed it”) und die in drei zunehmend höher, breiter werdenden Schwierigkeiten mit der Zensur, die auf einer Verdis gesamtem Œuvre gibt es kaum ein Sublimation seiner schmerzlichen Regungen Phrasen einfängt – ein sehr bühnenwirksamer Abänderung der Handlung, des Schauplatzes zweites Solo, das zutiefst empfundene zum Ausdruck bringt. Der Mann hat die Effekt, der bei dem Hörer sogar den Eindruck und der Personen bestand, reichen Stoff für Eindringlichkeit mit solch beherrschter Würde Maske abgelegt. Indes wird dieser Umstand erweckt, es handle sich um ein Thema, das Diskussionen. Die Oper entstand 1959, einem darstellt. Bei beiden Solopartien beruht die letztendlich durch eine noch markantere unbemerkt die ganze Oper durchzieht und kritischen Jahr im Risorgimento. Österreich Rezeption des Hörers auf der großartigen Metamorphose in der Partitur verstärkt: hier nun in diesem apokalyptischen Augenblick musste die Lombardei abgeben und es gab Musik; wohl folgen noch dramatischere befindet sich der musikalische und emotionelle deutlich hervortritt. Pläne für ein italienisches Nationalparlament. Ereignisse, doch die Quintessenz des Werks Höhepunkt der Oper. Das hat seinen guten Grund: es stimmt Der Schlachtruf “Viva Verdi!” drückte den findet sich hier: in den dramatisch statischen Die Katastrophe ist sehr klug gehandhabt. nämlich. Es handelt sich um eine Art Enthusiasmus der italienischen Opernfreunde Partien der Arien entwickelt sich das Wesen der Wie ja der Kunstgriff des “Schauspiels im melodisches, aus drei Noten bestehendes für den Komponisten aus, aber ihre Oper, indem die Musik und die Singstimme Schauspiel” die Illusion der dramatischen Kleinstmotiv, dessen zweite Note die höchste Begeisterung wurde durch den allgemein überwältigende Affekte im Rahmen des Wirklichkeit steigert (jenes war erfunden, dieses ist. Es ertönt im Verlauf der Musik mehrmals, bekannten Umstand, dass sein Name auch ein dramatischen Zusammenhangs hervorrufen. ist echt), so kann die Bühnenmusik dazu zum Beispiel im Liebesduett des zweiten Akronym für “Vittorio Emmanuele, Re In der letzten Szene werden endlich richtige führen, dass man übersieht, dass die ganze Aktes, in Amelias Arie und dem Terzett im d’Italia” war, noch mehr angefeuert. Kein Masken angelegt. Zunächst hat auch der Partitur ja für die Bühne geschrieben ist: in dritten Akt.* Dieses Motiv findet sich auch in Wunder, dass die Zensur im reaktionären

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Neapel eine Oper, deren Höhepunkt ein worum es bei dieser Oper eigentlich geht. wurden, konnte Ein Maskenball dank der Er schaffte es in zwei-einhalb Monaten, und Königsmord war, nicht duldete, oder dass Gewiss tragen solche Überlegungen dazu bei, Faszination, die große Stimmen ausüben, noch das erklärt vielleicht auch, wieso die Musik Verdi nach Rom ging, wo es zu einem dass gerade Ein Maskenball von Regie- immer den Abend tragen. Als die Oper 1919 trotz ihres Formenreichtums, mit dem sich Kompromiss kam. Der ursprüngliche Stoff Konzepten heimgesucht werden, bei denen an Covent Garden wieder gegeben wurde, keine seiner anderen Partituren messen kann, handelte von der Ermordung des Königs schlimmstenfalls die Augen die Sinne wirkte sie nicht überzeugend, aber immerhin organisch fester gefügt ist als sie alle. Gustav III. von Schweden im Jahr 1792, die dermaßen irreführen, dass dem Ohr nur eine schrieb ein Kritiker: “Wer schert sich um fade in zeitlicher und örtlicher Hinsicht gar nicht unwesentliche Nebenfunktion erteilt ist. Übrzeugungen, wenn Martinelli (der Tenor © 2004 John Steane so weit zurück lag. Für die Uraufführung in Wie unsinnig das alles ist, wird neuen Giovanni Martinelli) uns so großzügig mit Übersetzung: Gery Bramall Rom wurde die Handlung nach Boston und Hörern, die das Werk in einer ihnen solchen klanglichen Kleinodien bewirft?” Man ins 17. Jahrhundert verlegt und die verständlichen Sprache kennen lernen, ebenso denkt an die großen Interpreten der drei *Dieses Argument wurde im Beitrag des Protagonisten trugen italienische Namen. In klar wie denen, die es in seiner italienischen Hauptrollen und vereinzelte Meisterleistungen Verfassers zum Programm der Salzburger dieser Fassung wurde die Oper mehr als ein Gestalt kennen und lieben. Wahrscheinlich des Oscar oder der Ulrike: diese tragen alle zur Festspiele 1990 eingehender erörtert. Jahrhundert lang überall aufgeführt, doch ab erhalten sie einen besseren Einblick in die kulturellen Überlieferung der Oper bei. Aber der Mitte des 20. Jahrhunderts ging sie Verschwörung und den Grund für des Königs letztendlich sind es die Noten, der Klang, mit Inhaltsangabe zunehmend im schwedischen Milieu über die Besuch bei der Wahrsagerin sowie Einzelheiten denen man sich auseinander setzen muss, um Bühne. über die Warnungen und die Szene im die Substanz von Ein Maskenball richtig zu COMPACT DISC ONE Das ist alles natürlich sehr interessant; nur Ballsaal, in der verschiedene Personen einander erfassen. Die großen, jahrelang vor der ersten leider konzentrieren sich Regisseure, Kritiker erkennen. Indes hält die Musik mit der Gesamtaufnahme berühmten Arien sind sehr Akt I und Akademiker darauf, als ob es das A und O Handlung Schritt, unabhängig von der aufschlussreich. Das Liebesduett im zweiten Erstes Bild der Oper sei. Moderne Kommentare erwecken Sprache, in der gesungen wird. Und ohne Akt, von dem derselbe Kritiker schrieb, er 1 – 2 Unter den Höflingen und Bittstellern, den Eindruck, für das richtige Verständnis Verdis Musik sind Text und Gestik habe seit Monaten keinen vergleichbaren die König Gustav III. aufwarten, befinden sich müsse man mit diesem Kapitel der künstlerisch wertlos und können sich nicht spontanen Applaus gehört, und die Ensembles nicht nur seine Anhänger, sondern auch einige schwedischen Geschichte vertraut sein und behaupten, obwohl das aus zeitgenössischen des ersten Aktes betören noch in der Missgestimmte, darunter die Grafen Ribbing auch die Ansicht, Gustav sei homosexuell Rezensionen keineswegs hervorgeht. Erinnerung. Doch die Krone ist das hohe C, und Horn, die ein Attentat auf das Leben des gewesen, ernsthaft erwägen. Ferner kommen Ein Grund, warum sich die Oper das die der Sopranistinnen singen, als der Königs im Schild führen. 3 – 4 Oscar, der auch bei modernen Exegeten die Ideale des behaupten konnte, liegt in der herrlichen König im Sterben liegt – im kleinen, nur aus Page des Königs, zeigt ihm die Liste der Risorgimento und ganz allgemeine Musik, mit der Verdi seine Sänger bedachte. drei Noten besthenden Motiv, das die ganze Gäste für einen geplanten Maskenball, und zu Erörterungen über die Aufklärung und Zu einer Zeit, da Werke dieser Art von Oper durchzieht. Als Verdi Ein Maskenball seiner großen Freude erblickt er Amelias Revolution zum Zug, die präzisieren sollen, kultivierten, intelligenten Leuten abgelehnt schrieb, stand er unter immensem Zeitdruck. Namen: sie ist die Gattin seines Sekretärs und

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besten Freundes, Hauptmann Anckarström. fort, doch Gustav ersteckt sich. 15 Zu seiner sieht sie den König herannahen; er erklärt ihr COMPACT DISC TWO 5 Niemand weiß, daß er sie liebt, und Überraschung tritt Amelia ein. Sie ist seine Liebe. Sie erinnert ihn, dass sie die Gattin Anckarström hält seine bedrückte Stimmung gekommen, um Ulrike wegen ihrer schuldigen seines besten Freundes ist, doch schließlich Akt III für die allzu berechtigte Sorge über eine Liebe zum König um Rat zu bitten. 16 Ulrike gesteht sie, dass sie seine Liebe erwidert. Erstes Bild Verschwörung. 6 Der König will seine verordnet ihr ein Kraut, das auf der Richtstätte 29 Anckarström, der dem König 1 Anckarström will Amelia töten, um sich warnenden Worte nicht anhören, denn er unter dem Galgen wächst und um nachgegangen ist, kommt, doch es ist finster für ihren Ehebruch mit dem König zu rächen. zieht es vor, sich auf den Schutz seines Volkes Mitternacht gepflückt werden muss. und Amelia verschleiert sich, daher erkennt er Sie gesteht, dass sie ihn liebt, doch ihre zu verlassen. 17 Amelia beschließt, ihren Rat zu befolgen sie nicht. Er warnt den König vor den Beteuerungen, dass sie ihrem Gatten treu 7 Der Oberrichter kommt und verlangt und Gustav ist entschlossen, auch hinzugehen. Verschwörern und bewegt ihn dazu, mit ihm geblieben ist, werden nicht erhört. 2 Sie vom König, die Zigeunerin und angebliche 18 – 19 Die verkleideten Höflinge und den Mantel zu tauschen, um sich zu retten. begreift, dass sie sterben muss und bittet um Wahrsagerin Ulrike zu verbannen. 8 Oscar Oscar kommen herbei, verspotten Ulrike 30 – 31 Auch Amelia drängt ihn mit eine letzte Gnade: ihren Sohn noch einmal zu verteidigt sie energisch 9 – 10 und dem 20 – 21 und der König fordert sie auf, ihm unterdrückter Stimme zur Flucht; schließlich umarmen. 3 – 4 Anckarström willigt ein; König kommt der Einfall, sich zu verkleiden sein Schicksal weiszusagen. Obwohl sie keine willigt er ein, aber unter der Bedingung, das sobald er allein ist, wendet sich sein Hass und sie selbst aufzusuchen. Am Nachmittag Ahnung hat, wer er ist, prophezeit sie ihm Anckarström die Dame bis ans Stadttor gegen den König: er ist es, der sein Leben will er sich mit seinen Freunden bei ihrer Missgeschick; er drängt sie um genauere begleitet, ohne sie anzusehen oder nach ihrem verwirkt hat. 5 Ribbing und Horn treten ein, Hütte treffen. Auskunft und schließlich sagt sie, dass er von Namen zu fragen. Dieser willigt ein und der er teilt ihnen mit, dass er über ihre Freundeshand sterben werde: 22 der erste, der König eilt davon. Verschwörung unterrichtet ist und sich Zweites Bild ihm die Hand reicht, wird ihn ermorden. 32 Die Verschwörer ergreifen das Paar, das anschließen will. 6 Das Leben seines 11 Umringt von Frauen und Kindern Anckarström, der sich verspätet hat, tritt auf sie für Gustav und seine neue Liebschaft Sohnes ist das Pfand seiner Treue. 7 Das beschwört Ulrike die Geister. 12 Der als Fischer und drückt dem König die Hand, was die halten. Wutentbrannt erkennen sie Los soll entscheiden, wer ihm den verkleidete König tritt ein. 13 Die Wahrsagerin Prophezeiung scheinbar ad absurdum führt. Anckarström; nun wollen sie gewaltsam den Todesstoß gibt. 8 Amelia tritt ein, er prophezeit dem jungen Matrosen Christian Ulrike warnt ihn gegen eine Verschwörung, Namen der Schönen in Erfahrung bringen. weist auf die Vase, in der sich drei Zettel Beförderung; 14 der König schreibt rasch ein aber Gustav hört sie nicht an. Amelia ist entsetzt über die Gefahr, die ihrem mit ihren Namen befnden, und befiehlt ihr, Patent aus und steckt es dem Burschen mit Gatten droht und schlägt den Schleier zurück. einen zu wählen. 9 Sie zieht den Namen einer Geldrolle heimlich in die Tasche. Alles Akt II Anckarström ist wie aus allen Wolken gefallen. ihres Gatten heraus und durchblickt ihre besingt freudig Ulrikes geheimnisvolle Mächte. 23 – 25 Bei Mitternacht kommt Amelia zur 33 Die Verschwörer verlachen ihn und ziehen Pläne. Amelias Diener kommt: seine Herrin Richtstätte, um nach dem Kraut zu suchen. sich zurück; er bestellt Ribbing und Horn für 10 – 11 Der Page Oscar überbringt die ersuche um eine Unterredung mit der Ihr zwiespältigen Gefühle – Liebe und den nächsten Tag in sein Haus, dann begleitet Einladung für einen Maskenball am selben Wahrsagerin. Ulrike schickt alle Anwesenden Pflicht – quälen sie. 26 – 28 Voll Erstaunen er Amelia in die Stadt. Abend, die Anckarström für sich und seine

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Gattin annimmt – die denkbar beste seinem Freund. Das Volk beweint seinen Chile. Als häufiger Gast der Bayerischen Anthony Michaels-Moore studierte an der Gelegenheit für den Mord. Die Verschwörer geliebten, ermordeten König. Staatsoper hat er in München an Universität Newcastle und der Royal Scottish verabreden ihre Kostüme und das Aufführungen von Un ballo in maschera, Academy of Music and Drama bei Eduardo Losungswort: “Tod”. © Chandos Records Ltd Il trovatore, Der Rosenkavalier, Tosca, Lucia di Asquez und heute bei Neilson Taylor. Als Übersetzung: Gery Bramall Lammermoor, Simone Boccanegra, Aida und erster Brite gewann der 1985 den Luciano- Zweites Bild Otello mitgewirkt. Auch Auftritte an den Pavarotti-Wettbewerb. Lange Jahre war er sehr 12 – 13 König Gustav hat den Beschluss Der aus einem irisch–walisischen Elternhaus Opernhäusern von Wien, Berlin, Bonn, Köln, erfolgreich Mitglied der Royal Opera Covent gefasst, Anckarström als Gesandten nach stammende Verditenor Dennis O’Neill gehört Hamburg, Nizza, Zürich, Paris, Oslo, Brüssel, Garden, für die er zahlreiche Partien sang, so England zu versetzen, so dass er und Amelia zu den Spitzensängern der Welt. Er wird Barcelona, Oviedo, in der Arena di Verona etwa Belcore (L’elisir d’amore), Marcello den Hof verlassen müssen. 14 Oscar seit langem mit der Royal Opera Covent und in Turin haben ihn in ganz Europa (La Bohème), Silvio (Pagliacci ), Ping überreicht ihm den Brief einer unbekannten Garden assoziiert, wo er in zahlreichen berühmt gemacht. Er arbeitet eng mit der (Turandot), Ned Keene (Peter Grimes), Falke Dame, der ihn vor einem Mordanschlag auf Rollen aufgetreten ist, so etwa als Rodolfo Welsh National Opera zusammen und verfolgt (Die Fledermaus), Figaro (Il barbiere di dem Ball warnt, aber der König will sich die (La Bohème), Duca (Rigoletto), Pinkerton eine lebhafte und abwechslungsreiche Siviglia), Lescaut (Massenets Manon), Stankar Gelegenheit, Amelia ein letztes Mal zu sehen, (Madama Butterfly), Edgardo (Lucia di Konzertkarriere. (Stiffelio), Scarpia (Tosca) und die Titelrolle nicht entgehen lassen. Lammermoor), Macduff (Macbeth), Gustavo Dennis O’Neill blickt auf eine von Simone Boccanegra in (Un ballo in maschera), Foresto (Attila), hocherfolgreiche Fernsehserie für die BBC Konzertaufführungen der frühen Fassung. Drittes Bild Otello, Don Carlos, Radames (Aida), Carlo zurück, der ein Fernsehfilm über Caruso und Seitdem ist er in der Titelrolle von Macbeth, 15 – 17 Die Maskerade. Anckarström (Giovanna d’Arco) und Jacopo (I due Foscari ). eine weitere Sendung über berühmte Almaviva (Le nozze di Figaro) und Rolando befragt Oscar über das Kostüm des Königs An der Metropolitan Opera hat er Alfredo Filmmusik folgten. Neben vielen anderen (Il battaglia di Legnano) als Gast nach Covent und schließlich verrät er es. 18 Amelia (La traviata), Radames (Aida), La Bohème und Schallplatten hat er für die Chandos-Serie Garden zurückgekehrt. erkennt ihn auch und beschwört ihn Rigoletto sowie Turiddu (Cavalleria rusticana) “Opera in English” Turandot, Tosca, La Für die English National Opera hat er vergebens, den Ball zu verlassen. Sie nehmen und Canio (Pagliacci ) gesungen. Außerdem ist Bohème, Cavalleria rusticana und Pagliacci Zurga (Les Pêcheurs de perles), Marcello mit liebevollen Worten für immer Abschied, er an der Chicago Lyric Opera, San Francisco aufgenommen, außerdem zwei CDs mit (La Bohème), Almaviva (Le nozze di Figaro), 19 doch Anckarström wirft sich dazwischen Opera, San Diego Opera und Vancouver großen Opernarien und, für andere Labels, Jeletzki (Pique Dame) und die Titelrolle in und führt seinen mörderischen Plan aus. Opera, in Konzerten mit den La fanciulla del West mit Slatkin, Verdis Eugen Onegin gesungen; an der Opera North Man reisst ihm die Maske ab, so dass alle Sinfonierorchestern von Philadelphia, Requiem mit Sir Colin Davis und eine hat man ihn als Escamillo (Carmen), Marcello sehen, wer die Tat begangen hat. 20 Mit Cleveland, Montreal und Ottawa sowie beim Anthologie des italienischen Lieds. Dennis (La Bohème), Figaro (Le nozze di Figaro), seinen letzten Worten schwört Gustav, dass Cincinnati Festival aufgetreten. Weitere O’Neill wurde im Jahr 2000 mit dem Germont (La traviata), Posa (Don Carlos) und Amelias Ehre unbefleckt ist, und verzeiht Stationen waren São Paolo und Santiago de britischen Verdienstorden CBE ausgezeichnet. in der Titelrolle von Hamlet erlebt; und an der

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Welsh National Opera hat er Figaro Ernani an der niederländischen Nationale Poulencs Gloria, Rossinis Stabat Mater, Auch in Europa ist sie seit ihren Auftritten am (Il barbiere di Siviglia) und Eugen Onegin Reisopera, als Madame de Tourvel (Dangerous Beethovens Neunter in Lissabon, Egmont mit Théâtre du Châtelet Paris, an der Nederlandse gesungen. Auslandsstationen waren Chicago Liaisons) und Tosca an der Washington Opera, dem San Francisco Symphony Orchestra und Opera (Äbtissin in Szymanowskis Król Roger), Lyric Opera, La Scala, Wiener Staatsoper, Mimì (La Bohème) und Aida an der Baltimore Kurt Masur sowie mit der Los Angeles Welsh National Opera (Ulrike in Un ballo in Metropolitan Opera New York, San Francisco Opera und Manon Lescaut beim Spoleto Philharmonic in Szymanowskis Stabat Mater maschera) und English National Opera (Marfa Opera, Pittsburgh Opera, Opéra de Paris und Festival USA. An der Scala debütierte sie in und Mahlers Zweiter aufgetreten. in Chowanschtschina) ein Begriff. Opéra de Paris-Bastille, La Monnaie, San Cherubinis Lodoiska mit Riccardo Muti. Zum Für die Chandos-Serie “Opera in English” Jill Grove arbeitet regelmäßig mit den Carlo Napoli, Gran Teatro del Liceu 100. Todestag Verdis sang sie das Requiem mit hat sie Elvira in Verdis Ernani und Elektra in führenden Orchestern und Dirigenten der Barcelona, Oviedo-Festival in Spanien, der Washington Opera unter der Leitung von Idomeneo gesungen. Hervorzuheben sind Welt zusammen. Sie hat Beethovens Neunte Bayerische Staatsoper, Deutsche Oper Berlin Placido Domingo, und in Monte Carlo trat sie auch Aufnahmen von Le Comte Ory und mit der Los Angeles Philharmonic sowie den und Teatro Colón Buenos Aires. in einem Wohltätigkeitskonzert mit Luciano Il matrimonio segreto. Sinfonieorchestern von Atlanta, Houston und Auf der Konzertbühne ist Anthony Pavarotti auf. Detroit aufgeführt, Mahlers Dritte beim Michaels-Moore mit Dirigenten wie Sir Colin Zahlreiche Rollen verbinden sie mit der San Jill Grove studierte an der Music Academy of Schleswig-Holstein Festival und mit der Davis, Riccardo Muti, Michael Tilson Francisco Opera, so etwa Angelica (Vivaldis the West, am New England Conservatory und Houston Symphony, Beethovens Missa Thomas, Sir David Willcocks, Andrew Davis, Orlando Furioso), Anne Trulove (The Rake’s an der Stephen F. Austin State University. Zur solemnis, Prokofjews Alexander Newski mit Neeme Järvi, Nikolaus Harnoncourt, André Progress), Konstanze (Die Entführung aus dem Zeit lebt sie in New York und setzt ihre dem National Symphony Orchestra und Previn, Michael Gielen, Leonard Slatkin, Serail ), Fiordiligi (Così fan tutte), und Helena Gesangsausbildung bei Patricia McCaffrey Bernsteins Erste beim Ravinia Festival. Als Rafael Frühbeck de Burgos, John Eliot (A Midsummer Night’s Dream). Sie ist an der fort. Mitglied des Houston Grand Opera Studios Gardiner und Sir Neville Marriner aufgetreten. Nederlandse Opera in Le Comte Ory und An der Metropolitan Opera New York hat ist sie in zahlreichen Rollen mit dem Ensemble Seine Diskographie umfasst Szymanowskis Mitridate aufgetreten, in Aix-en-Provence als man Jill Grove als Magdalene (Die Meistersinger aufgetreten, so etwa als Anne Kronenberg in Stabat Mater, Carmina Burana, La vestale, Konstanze sowie an der Kölner Oper und der von Nürnberg mit Levine), Madelon (Andrea der Welturaufführung von Harvey Milk The Fairy Queen und Mercadantes Orazi e Opéra Comique Paris in L’occasione fa il ladro. Chenier), Pantalis (Boitos Mefistofele), Emilia und als Tisbe in La Cenerentola mit Cecilia Curiazi für Opera Rara. Mit La traviata, einem Schlüsselwerk in der (Otello) und Mary (Der fliegende Holländer mit Bartoli. Karriere Susan Pattersons, hat man sie in ganz Valery Gergiev) erlebt. Außerdem hat sie die Susan Patterson ist als führender Lirico- Amerika, an der Vancouver Opera, Montreal Erste Norn (Götterdämmerung) in Dallas, Christopher Purves studierte Anglistik am spinto-Sopran einer neuen Generation Opera, English National Opera, Welsh Azucena (Il trovatore) in Tulsa, Mistress King’s College Cambridge, bevor er mit der hervorgetreten: als hocherfolgreiche National Opera und Canadian Opera erlebt. Quickly (Falstaff ) in Santa Fe und in der innovativen Rockgruppe Harvey and the Margarita/Helena in Boitos Mefistofele, in Auf der Konzertbühne ist sie mit Händels Welturaufführung von Tobias Pickers Wallbangers von sich reden machte. Als sich Dvorˇáks Rusalka, einer Neuinszenierung von Jephtha und Messiah, Mendelssohns Elijah, The Fantastic Mr. Fox in Los Angeles gesungen. die Gruppe 1988 auflöste, nahm er seine

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Gesangsausbildung bei David Keren, Diane Sir Simon Rattle, Brittens War Requiem und Texeiras Te Deum mit Harry Christophers in Als Hauptsängerin der English National Forlano und Janice Chapman wieder auf. Haydns Schöpfung mit dem Ulster Orchestra, Hongkong, Unter seinen vielen Opera hat sie Fiordiligi (Così fan tutte), Hervorzuheben unter seinen Opernrollen und Belshazzar’s Feast mit der English Rundfunkkonzerten sind hervorzuheben Lauretta (Gianni Schicchi ), Micaëla (Carmen), sind Figaro (Le nozze di Figaro) an der Welsh Northern Sinfonia unter Paul Daniel und mit Mozarts Messe c-Moll, Rossinis Petite Messe Gretel (Hänsel und Gretel ), Gilda (Rigoletto), National Opera, Scottish Opera und Opera dem Hallé Orchestra. Christopher Purves gab solennelle, Panufniks Winter Solstice und Zerlina (Don Giovanni ), Sophie (Der North, Marcello (La Bohème) an der Scottish sein Solodebüt beim Aldeburgh Festival im Strawinskys Canticum Sacrum. Rosenkavalier), Mimì (La Bohème), Violetta Opera, Papageno (Die Zauberflöte), Faninal Juni 2004. Für die Chandos-Serie “Opera in Er hat Publio (La clemenza di Tito) und (La traviata), Woglinde (Das Rheingold ), (Der Rosenkavalier) an der Welsh National English” hat er die Titelrolle in The Marriage Plutone (L’anima del filosofo) an der Royal Helena (A Midsummer Night’s Dream) und die Opera und Opera North, Podesta (La gazza of Figaro sowie die Partie des Gottardo Opera Covent Garden gesungen, Melisso Titelrollen in The Fairy Queen und Alcina ladra) an der Garsington Opera sowie (The Thieving Magpie) aufgenommen. (Alcina) an der Opéra de Montpellier, gesungen. Außerdem hat sie Karolka (Jenu˚fa), Siegfried (Genoveva) und Dulcamara (L’elisir Immigration Officer (Jonathan Doves Flight) Mimì, Nanetta (Falstaff ), Pamina (Die d’amore) an der Opera North. Er schuf die Brindley Sherratt wurde in Lancashire an der Vlaamse Opera, Superintendent Budd Zauberflöte) und Violetta an der Opera North, Rolle des Executioner in James Macmillans geboren und studierte Trompete und Gesang (Albert Herring) mit der Glyndebourne Touring Lisetta (La vera constanza) in Garsington, Ines de Castro und ist in Macmillans an der Royal Academy of Music. Opera sowie Basilio (Il barbiere di Siviglia) und Norina (Don Pasquale) an der Clonter Opera Parthenogenesis bei den Edinburgher Er ist regelmäßig auf der Konzertbühne Commendatore (Don Giovanni) an der und The Fairy Queen in Barcelona gesungen. Festspielen aufgetreten, wo man ihn auch als aufgetreten, so etwa mit der Johannespassion Garsington Opera. Weitere Höhepunkte waren Im konzertanten Rahmen hat sie an der Cecil in Maria Stuarda unter der Leitung von mit Trevor Pinnock in London und Luzern, Haydn-Messen auf einer Schweiz-Tournee mit Erstaufführung vernachlässigter Werke Haydns Sir Charles Mackerras erlebt hat. Mozarts Requiem und Messe c-Moll bei den Sir John Eliot Gardiner und dem Monteverdi beim English Haydn Festival mitgewirkt und Zu seinem Konzertprogramm gehörten Festivals von Swansea und York mit Jane Choir, Messiah in den USA mit Robert King, ist mit dem Requiem von Brahms mit der Mozarts Messe C-Dur in Aix-en-Provence mit Glover und den London Mozart Players, Matthäuspassion mit Trevor Pinnock in Wien, Northern Sinfonia, Messiah mit dem English The Sixteen, Monteverdis Vespro della Beate Händels Judas Maccabeus und Mozarts Vespern Salzburg, Paris und Japan, Bach-Kantaten mit Chamber Orchestra in Spanien, Brittens Vergine mit Richard Hickox, Bachs Messe zur Eröffnung der Symphony Hall mit dem Gardiner und Die Schöpfung mit Pinnock bei Les Illuminations mit dem niederländischen h-Moll beim Festival de la Chaise-Dieu, City of Birmingham Symphony Orchestra, den Festspielen von Lausanne. Radio-Kammerorkest und Carmina Burana in Händels Judas Maccabeus in Nürnberg und Johannespassion in Bonn und Strawinskys der Royal Festival Hall aufgetreten. Linda Saul mit dem Gabrieli Consort beim Covent Les Noces in Paris mit Pierre Boulez und dem Linda Richardson wurde in Cheshire geboren Richardson hat Annie in Jonathan Doves Garden Festival und Festival de la Chaise- Ensemble Intercontemporain, Strawinskys und studierte am Royal Northern College of Fernsehoper When She Died für Channel 4 Dieu, John Taveners Apocalypse bei den Proms Canticum Sacrum in Paris mit dem BBC Music mit einem Stipendium der Peter gesungen, und unter dem Titel Hearts and mit der City of London Sinfonia, Les Mamelles Symphony Orchestra, Dallapiccolas Oper Moores Foundation und anschließend am Flowers hat sie eine Sammlung viktorianischer de Teresias mit der London Sinfonietta unter Il prigioniero in Turin sowie Messiah und National Opera Studio. Salonlieder aufgenommen.

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Roland Wood wurde in Berkshire geboren und McAlpine und am National Opera Studio mit Geoffrey Mitchells Gesangskarriere hat ihm Chefdirigent des Orchesters ist seit September studierte am Royal Northern College of Music einem Stipendium der Friends of Covent ein bemerkenswert breitgefächertes Repertoire 2000 Kurt Masur. Er steht in einer langen bei Patrick McGuigan und Robert Alderson, Garden und einem Nelly Groner Bursary. Sein von der alten bis zur neuen Musik beschert Tradition, die seit der Gründung des Orchesters bevor er seine Gesangasausbildung am Opernrepertoire umfasst Ferrando (Così fan und ihn nach Skandinavien, Deutschland, in durch Sir Thomas Beecham im Jahre 1932 National Opera Studio mit Unterstützung tutte), Nemorino (L’elisir d’amore), Ernesto die ehemalige Tschechoslowakei, nach Kanada durch Sir Adrian Boult, Sir John Pritchard, durch die Peter Moores Foundation und (Don Pasquale), Fenton (Falstaff ) und Male und Australasien geführt. Nachdem er bei der Bernard Haitink, Sir Georg Solti, Klaus English National Opera fortsetzte. Chorus (The Rape of Lucretia). BBC erste Dirigiererfahrungen gesammelt Tennstedt und Franz Welser-Möst aufgebaut Er begann seine Opernkarriere als Konzertstationen waren die Barbican hatte, begann er mit eigenen Sängern zu wurde. Seit 1992 ist das London Philharmonic Bassbariton und sang anfangs Partien wie Silva Concert Hall, Queen Elizabeth Hall, arbeiten und gründete den Geoffrey Mitchell Orchestra das Gastsinfonieorchester der Royal (Ernani) und Colline (La Bohème); Luka St. John’s Smith Square und St. Martin-in Choir. Aus ersten Aufnahmen entwickelte sich Festival Hall und bereits seit 1964 das (The Bear) und Martino (L’Occasione fa il ladro) the-Fields (alle London) und die Royal eine langfristige Zusammenarbeit des Chors Gastsinfonieorchester an der Glyndebourne für den Walton Trust in Ischia sowie Saretski Glasgow Concert Halls; er hat in der mit Opera Rara, für die er über dreißig Festival Opera. (Eugen Onegin) mit der European Union Matthäuspassion und in einem Recital mit Tonträger aufgenommen hat. Der Chor Opera. Nach seinem Wechsel in die Baritonlage Britten-Liedern für Stimme und Harfe in genießt wachsendes Ansehen und ist bei der David Parry hat bei Sergiu Celibidache sang er Josev Prasov in der Welturaufführung Aldeburgh gesungen und auf Tourneen durch BBC und internationalen Plattenfirmen studiert und seine berufliche Laufbahn als von The Bridge und Almaviva (Le nozze di Europa und die USA die neue Video-Oper gefragt. Für Chandos hat der Geoffrey Assistent von Sir John Pritchard begonnen. Figaro) am Royal Northern College of Music Three Tales von Steve Reich dargeboten und Mitchell Choir an zahlreichen Aufnahmen der Er hat am English Music Theatre debütiert und und an der Opera Holland Park. aufgenommen. hervorragend kritisierten Reihe Opera in wurde dann Dirigent mit Festvertrag an den Außerdem war er Ersatzsänger in diversen Ashley Catling ist in Die Fledermaus im English unter der Schirmherrschaft der Peter Städtischen Bühnen Dortmund und an der Rollen an der Glyndebourne Festival Opera Grand Opera House Dublin, als Normanno Moores Foundation teilgenommen. Opera North. Von 1983 bis 1987 war er und der English National Opera. Er debütierte (Lucia di Lammermoor) mit der Opera Musikdirektor der Opera 80 und seit 1992 an der English National Opera als Baron Holland Park, Gawain in der Erstaufführung Das London Philharmonic Orchestra ist seit Gründungsmitglied und Direktor der Almeida (La traviata). Als Hauptsänger an der Scottish von Lynne Plowmans Oper Gawain and the langem als vielseitiges und künstlerisch Opera. Opera hat er Dr. Falke (Die Fledermaus), Green Knight mit dem Music Theatre Wales herausragendes Orchester fest etabliert. Bezeugt Er übt in Großbritannien und international Marullo (Rigoletto) und Papageno (Die und als Tamino (Die kleine Zauberflöte) mit wird dies durch Konzert- und eine weitgespannte Tätigkeit in den Bereichen Zauberflöte) gesungen. der Opera North aufgetreten. Zu seinen Opernaufführungen, vielfach preisgekrönte Oper und Konzert aus, hat mehrere Schallplattenaufnahmen gehören Schallplattenaufnahmen, bahnbrechende Produktionen der English National Opera und Ashley Catling studierte an der Guildhall Contrabandista und L’Esule di Granata für internationale Gastspielreisen und der Opera North dirigiert und tritt regelmäßig School of Music and Drama bei William Opera Rara. wegbereitende pädagogische Arbeit. mit dem Philharmonia Orchestra und dem

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London Philharmonic Orchestra auf. 1996 gab er fürs BBC-Fernsehen und achtundzwanzig sein Debüt beim Glyndebourne Festival mit Così vollständige Opernaufzeichnungen unter der

fan tutte und hat dort 1998 die Uraufführung Schirmherrschaft der Peter Moores Cooper Bill von Jonathan Doves Flight geleitet. Foundation. Darunter befinden sich zahlreiche Er ist häufig in Spanien zu Gast und hat mit Aufnahmen der Reihe Opera Rara, die den meisten bedeutenden spanischen mehrere Preise gewonnen haben, beispielsweise Orchestern Konzerte gegeben. In Madrid hat er den belgischen Prix Cecilia für Donizettis die spanische Uraufführung von Peter Grimes Rosmonda d’Inghilterra. Für Chandos hat er die dirigiert, und 1996 die erste spanische Aufzeichnung einer Serie von Programmen Inszenierung von The Rake’s Progress. Er ist in mit Opernarien geleitet (mit Bruce Ford, Deutschland, der Schweiz und den Diana Montague, Dennis O’Neill, Alastair Niederlanden aufgetreten, bei den Festspielen in Miles, Yvonne Kenny, John Tomlinson, Della Pesaro, beim Hong Kong International Festival, Jones und Andrew Shore), außerdem in Japan anläßlich einer Carmen-Tournee und The Marriage of Figaro, Idomeneo, Carmen, in Mexiko mit dem UNAM Symphony The Thieving Magpie, Don Giovanni, Orchestra. Zu den Neuproduktionen, die er in Don Pasquale, The Elixir of Love, Lucia of letzter Zeit dirigiert hat, zählen Fidelio beim Lammermoor, Ernani, Il trovatore, Aida, Faust, New Zealand Festival, Lucia di Lammermoor an Cavalleria rusticana, Pagliacci, La bohème, der New Israeli Opera und Don Giovanni an Turandot, die preisgekrönte Tosca und der Staatsoper Hannover. Highlights aus dem Rosenkavalier, jeweils in Seine Tätigkeit im Aufnahmestudio umfaßt Zusammenarbeit mit der Peter Moores die Produktion von Marschners Der Vampyr Foundation.

Jill Grove as Ulrika and Dennis O’Neill as Gustavus III in Welsh National Opera’s production of Verdi’s A Masked Ball

48 49 CHAN 3116 BOOK.qxd 20/9/06 11:45 am Page 50 Bill Cooper Bill Clive Barda Clive

Dennis O’Neill as Riccardo (Gustavus III) in The Royal Opera’s production of Verdi’s Jill Grove as Ulrike in Welsh National Opera’s production of Verdi’s A Masked Ball A Masked Ball

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passe tout à coup et férocement au mode des intrigues traîtresses et des passions Verdi: Un Bal masqué mineur. Sur scène, l’obscurité à peine dissipée dangereuses. Dans la deuxième scène, le roi par la lueur du feu dans la cabane de la diseuse porte le masque de l’anonymat. Le destin que Pendant des années, la partition piano-chant Au lever du rideau, c’est également la de bonne aventure remplace les splendeurs de la prophétie d’Ulrike révèle momentanément d’Un Bal masqué (avec son titre anglais sur la douceur de l’opéra léger qui prédomine. la cour. La sorcière Ulrike invoque le Roi des sous son véritable visage, prend l’aspect de la tranche, A Masked Ball ) est restée sur les Quelques murmures de conspiration, une ténèbres dans des sonorités profondes Sécurité lorsque le condamné serre la main de rayons de notre bibliothèque locale dans la expression amoureuse passionnée du ténor complètement différentes de ce que l’on a son assassin, en qui il a confiance. catégorie “Opéra léger, Comédie musicale, (théoriquement en privé) et une touche de entendu jusqu’à présent. Ce qu’elle chante Au début de l’Acte II, Amelia cherche à etc.”. Une simple erreur, pourrait-on penser, prudence grave et compréhensive du baryton ressemble à des gémissements provenant de trouver près du gibet la plante magique qui mais en fait elle attire l’attention sur un point ne parviennent pas encore à jeter la moindre l’au-delà et le chromatisme de la musique se doit lui apporter la guérison de l’âme. Une qui passe généralement inaperçu: l’ironie ombre profonde. L’atmosphère est créée par coule comme un frisson surnaturel sur la chose est certaine pour l’auditeur: la musique amère du titre, une sorte de plaisanterie de l’élégante mélodie et l’accompagnement léger peau des vivants. C’est l’endroit et c’est la est de mauvais augure. Elle dépeint peut-être mauvais goût, comme le titre A Night at the de l’air du roi “Je la reverrai dans l’extase” personne choisie par les courtisans pour leur la scène sauvage et lugubre, ou l’agitation Theatre (“Une nuit au théâtre”), pour une (“There I shall gaze in ecstasy”), par la finesse joyeuse escapade; mais nous sommes là avant des émotions d’Amelia, mais on sent la gravité pièce sur la mort d’Abraham Lincoln. pétillante de celui du Page “Lorsqu’elle tourne” eux et ce que nous avons vu n’est pas une qui crée une atmosphère de tension profonde Celui qui emprunte la partition et l’emporte (“She conjures from afar”) et par le finale plaisanterie. L’arrivée d’Amelia laisse entendre non seulement dans l’instant présent, mais chez lui pour la jouer au piano ou la suivre en délirant des courtisans qui veulent à tout prix combien cette diversion est intimement liée à aussi pour l’action qui va se dérouler ensuite. écoutant des disques, pourrait fort bien penser s’amuser aux dépens de la diseuse de bonne l’intrigue principale et la musique conduite Et même le Destin change de masque. Après la au début que l’ouvrage a été classé dans la aventure. L’auditeur sourit, tape du pied et par le destin affirme sa gravité. Les sourires terreur provoquée par les douze coups de bonne catégorie. Le Prélude se déroule de voudrait se joindre à eux. L’emprunteur de la ont disparu; l’atmosphère heureuse de la minuit et ses visions d’horreur, Amelia trouve façon lyrique mais commence par une sorte de bibliothèque, qui doute que l’expression première scène n’était qu’un masque comique, la consolation dans l’espoir de la clémence triolet, une petite figure capricieuse enjouée, “comédie musicale” soit tout à fait appropriée, maintenant arraché. Et bien que le roi divine, puis, avec l’arrivée du roi, dans la voire même espiègle, certainement plus proche est néanmoins enchanté d’avoir découvert un Gustave cherche à recréer une ambiance chaleur de l’amour humain. Le duo d’amour du comique que du tragique. Aucun autre opéra léger et fascinant de Verdi. cordiale avec sa barcarolle légèrement le plus passionné de toute l’œuvre de Verdi se opéra de Verdi ne commence de cette manière, “Maintenant effacez ce sourire de votre moqueuse “Dis-moi si les flots” (“Do you see déroule à l’ombre du gibet, mais ce bref diamétralement opposée à La Force du destin visage!” C’est alors comme si Verdi, après avoir the furious billows”), le décor de la tragédie moment de bonheur s’achève en désastre. (par exemple), qui vient juste après Un Bal commencé son opéra de la manière la plus est planté. À l’approche de son mari, Amelia rabat son masqué dans l’ordre de composition de ses captivante, frappait brusquement sur la table C’est un opéra de masques. La frivolité qui voile; puis, lorsque les conspirateurs les ouvrages lyriques. avec trois accords tendus. La tonalité majeure caractérise la première scène cache la réalité rejoignent, on apporte des lumières et le voile

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glisse, véritable catastrophe. Une fois encore le s’opère le travail éminemment lyrique, réalité dramatique (cela était de la fiction, ceci essentiellement des phrases mélodiques de trois masque tombe – mais ce qui apparaît l’évocation de sentiments puissants dans un est un fait), de même l’interpolation de la notes, celle du milieu étant la plus aiguë. Il maintenant masque encore la vérité. contexte dramatique véhiculés par la musique musique de scène peut nous faire oublier que s’agit d’une figure qui s’est présentée à certains Dans la scène de la bibliothèque à l’Acte III, et la voix qui la chante. la partition elle-même est de la musique pour moments stratégiques d’un bout à l’autre de la qui se situe vraiment au cœur de l’opéra malgré Les masques sont vraiment mis pour la la scène: dans les deux cas, la principale partition, dans le duo d’amour de l’Acte II, par l’absence de son héros, l’ami et mari trompé scène finale. Avant cette scène, le roi chante représentation, dramatique et/ou musicale, se exemple, dans l’air d’Amelia qui précède et fait face à la nouvelle réalité de sa vie. Son air son propre solo, ce qui recrée un équilibre rapproche de l’acceptation des faits comme dans le trio de la scène précédente.1 Et même (“Shame on you”, “Et c’est toi qui déchires dans le trio des principaux rôles par rapport une réalité. Au bal masqué, l’orchestre de la si l’atmosphère et la manière sont aussi mon âme”) passe du fatalisme des premières aux grands airs d’Amelia et d’Anckarstroem. cour joue de la musique de danse au moment éloignées que possible, la figure de trois notes mesures, dont le côté dramatique est renforcé C’est ici qu’il apparaît sous son véritable visage de l’assassinat. Les invités horrifiés arrêtent de est également celle du triolet léger et par les cuivres, aux sentiments plus tendres de – on a découvert le souverain populaire, le danser et l’orchestre cesse peu à peu de jouer capricieux qui se trouve au commencement de la perte qu’il vient de vivre, la douceur du passé blagueur, le galant, l’amoureux, mais quelle (le chef d’orchestre et le violoniste qui se l’opéra et que l’on entend de temps en temps étant représentée par la harpe et la flûte. La que soit l’exactitude de ces visages (la musique trouve juste à côté de lui sont probablement du début à la fin. C’est la chute finale du véritable noblesse de cette femme, que la chute le prouve), ce ne sont que des aspects, alors les derniers à se rendre compte de ce qui est masque. Comme une image musicale, la figure de son masque a révélée à tort sous un jour qu’ici c’est l’homme lui-même qui se dévoile. arrivé). La “véritable” partition reprend et le de trois notes imprègne l’opéra; elle apparaît tellement ignoble, prend corps dans la grave Il ne s’agit pas – ou seulement dans un sens roi blessé à mort donne son absolution. Mais sous de multiples visages et finalement, élargie simplicité de son air suivant (“I go, but in superficiel – de ce que disent les mots: c’est la le sommet émotionnel survient lorsque toutes et anoblie, elle est utilisée pour incarner la compassion”, “Je mourrai, mais avant, de musique qui rend réelle l’angoisse provoquée les voix s’élèvent ensemble, trouvant tragédie vers laquelle tout a tendu. grâce”). Une fois encore, dans toute l’œuvre de par sa décision d’éloigner son ami Ankerström l’inspiration du moment dans trois phrases en De tous les opéras de Verdi, Un Bal masqué Verdi il n’y a probablement aucun solo qui et Amelia, (“Ah, I have signed it”, “Ah, j’ai forme d’arche, chacune plus élevée et plus fut celui qui suscita le plus grand nombre de exprime de façon plus émouvante un besoin signé man propre sacrifice!”) et la sublimation ample que la précédente. Cela fait toujours commentaires erronés. Bien sûr, on peut dire pressant et sincère avec une telle dignité dans la de ses désirs encore douloureux. C’est un beaucoup d’effet lors des représentations, et on beaucoup de choses de ses circonstances retenue. Dans ces deux solos, c’est la qualité de homme sans masque. Mais il reste à asséner à a même l’impression instinctive qu’il s’agit (personnelles et historiques) de composition, la musique qui détermine notre réaction, et ce qui doit être le sommet musical et d’un thème qui, sans que l’on en soit de l’accueil réservé à sa création et aux bien que la dernière partie de l’ouvrage émotionnel de l’opéra un coup encore plus vraiment conscient, a imprégné l’opéra avant représentations suivantes, des problèmes avec comporte des développements plus puissant, une métamorphose dans la partition. d’être exposé maintenant au moment la censure et des changements dont ils furent dramatiques, les véritables profondeurs de La catastrophe est gérée avec efficacité. apocalyptique. la cause pour le cadre de l’action et le nom des l’opéra se trouvent ici: c’est dans les passages De même que le procédé du théâtre dans le Si tel est le cas, c’est pour une excellente personnages. L’opéra fut écrit en 1859, année statiques de l’air sur le plan dramatique que théâtre augmente avec efficacité l’illusion de la raison, car c’est la vérité. Ces “arches” sont décisive dans la lutte pour l’unité italienne. Les

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Autrichiens avaient été chassés de Lombardie et essentiels pour apprécier l’ouvrage. En lisant en garde et l’identification des personnages au qui ont connu la célébrité discographique bien un parlement national avait vu le jour. Les certains commentaires actuels, on pourrait cours du bal. Mais dans une large mesure, la avant l’existence du premier enregistrement Italiens amateurs d’opéra pouvaient crier “Viva supposer qu’il est indispensable de comprendre musique et l’action racontent ensemble leur intégral, en disent long. Le duo d’amour de Verdi!” en toute conviction, mais la ferveur de ce chapitre de l’histoire de la Suède et, par la histoire, que ce soit en anglais ou en italien. Et l’Acte II (“Cela fait bien des mois que je n’ai leur acclamation était encore plus forte et pleine même occasion, d’insister sur l’homosexualité sans la musique de Verdi (bien que ce ne soit pas entendu un éclat aussi spontané de jubilation car chacun savait que le nom du de Gustave III. La critique moderne s’est pas évident dans la plupart des critiques d’applaudissements” écrit le même critique à compositeur pouvait également être compris également emparée des idéaux du actuelles), les mots et l’action perdent leur propos de la représentation de 1919) et les comme l’acronyme de “Vittorio Emmanuele, Risorgimento et de l’intérêt général pour valeur ou leur pouvoir de survie sur le plan ensembles de l’Acte I reviennent aussi de façon Rè d’Italia”. Il n’est pas surprenant que les l’instruction et la subversion afin de artistique. exaltante à la mémoire. Et pour couronner le censeurs de l’État réactionnaire de Naples aient “conceptualiser” cet opéra. Et c’est au moins La splendeur de l’écriture de Verdi pour le tout, cette sublime phrase en arches avec la rejeté un opéra qui culminait dans l’assassinat en partie à cause de telles idées qu’Un Bal chant est l’un des facteurs de la survie de cet voix de la soprano qui monte jusqu’au contre- d’un dirigeant; ou que Verdi ait dû proposer masqué a fait l’objet de nombreuses opéra. À une époque où les gens cultivés et ut dans la scène de la mort du roi, qui à son son ouvrage à Rome où l’on parvint à un productions scéniques “conceptuelles” qui, ce intelligents considéraient de tels opéras comme tour lie tant de choses au moyen de cette compromis. À l’origine, l’intrigue était centrée qui est plus grave, ont tellement déformé démodés, le spectacle reposait encore sur le figure de trois notes éparpillée dans tout sur l’assassinat de Gustave III de Suède en l’esprit au travers de l’aspect visuel que seule frisson du grand chant. Dans l’ensemble, l’opéra. Verdi n’avait pas beaucoup de temps 1792. C’était une histoire relativement récente subsiste une petite marge d’appréciation Un Bal masqué n’a convaincu personne lors de lorsqu’il composa Un Bal masqué. Il le fit en et elle se déroulait en un lieu qui n’était pas si auditive. sa reprise à Covent Garden en 1919, mais, deux mois et demi, ce qui explique peut-être éloigné. Pour la création romaine, l’action fut La perversité de cette démarche s’imposera comme un critique l’a rapporté: “Qui se soucie pourquoi, bien qu’aucune de ses partitions déplacée dans le temps et dans l’espace pour se aux auditeurs qui découvriront à présent cet de convictions sans intérêt lorsque Martinelli n’offre autant de possibilités, aucune ne situer à Boston au XVIIe siècle. Cette version, opéra dans une langue qu’ils connaissent, [Giovanni Martinelli, le ténor de cette parvient à une unité aussi serrée, aussi avec des noms italiens donnés aux personnages peut-être, mieux que la version italienne; il en représentation] vous lance des trésors de organique. principaux, resta la version généralement sera de même que pour ceux qui le sonorité avec tant de prodigalité?”. On pense à représentée pendant plus d’un siècle; le cadre connaissent et l’apprécient au travers de tous les grands chanteurs qui ont incarné les © 2004 John Steane suédois fut rétabli progressivement à partir du représentations dans la version italienne trois principaux rôles, avec parfois des Traduction: Marie-Stella Pâris milieu du XXe siècle. originale. Pour un public anglophone, un texte interprétations remarquables d’Oscar et Ulrike: Tout ceci est intéresssant, mais il est en anglais a l’avantage de permettre une ils font partie de l’héritage accumulé de 1Ce point a été développé de manière plus dommage que les metteurs en scène, les meilleure compréhension de la conspiration, l’opéra. Mais, avant tout, pour savoir ce qu’est complète dans l’essai de l’auteur consacré à critiques et les érudits aient concentré leur de la raison pour laquelle le roi veut aller voir Un Bal masqué, il faut se remémorer la Un Bal masqué qui figure dans le programme attention sur de tels aspects comme s’ils étaient la sorcière, et de tout ce qui concerne les mises musique, le son de l’ouvrage. Les grands airs, du Festival de Salzbourg, 1990.

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Synopsis conviennent de se rencontrer un peu plus tard personne qui lui serrera la main. Anckarstroem 32 Les conspirateurs s’emparent de ceux le jour même, près de sa cabane. arrive en retard et salue le roi; il semble ainsi qu’ils prennent pour Gustave III et son nouvel COMPACT DISC ONE contredire la prophétie, d’autant plus amour. Découvrant Anckarstroem, ils tentent Scène 2 qu’Ulrike reconnaît alors enfin son invité. Elle de le contraindre à révéler l’identité de la Acte I 11 Ulrike, entourée de femmes et de jeunes continue à le mettre en garde contre une dame. Amelia, terrifiée par la menace qui pèse Scène 1 garçons, exécute un rituel satanique. 12 Le roi conspiration, mais Gustave III l’ignore. contre son mari, laisse tomber son voile. 1 – 2 Un groupe de courtisans et de arrive déguisé. 13 Lorsque Ulrike prédit une Anckarstroem est horrifié. 33 Lorsque les solliciteurs attend le roi; parmi eux figurent à promotion à un jeune marin, Cristian, 14 le Acte II conspirateurs partent, en riant à ses dépens, il la fois ses partisans et un certain nombre de roi écrit rapidement une note sur une liasse de 23 Il est minuit sous le gibet. 24 – 25 demande à Ribbing et à Horn de venir chez mécontents, entraînés par le comte Ribbing et billets et la glisse avec précaution dans la Tourmentée par son conflit entre amour et lui le lendemain matin. Anckarstroem le comte Horn, qui sont en train de comploter poche du marin. Ainsi la prophétie d’Ulrike se devoir, Amelia est venue chercher l’herbe raccompagne sa femme en ville. l’assassinat du souverain. 3 – 4 Lorsque réalise et ceux qui sont présents acclament ses magique. 26 – 28 Elle est étonnée de voir Oscar, le page du roi, lui montre la liste des pouvoirs. apparaître le roi qui lui déclare son amour. COMPACT DISC TWO invités au bal masqué qu’il a projeté, il se Le serviteur d’Amelia entre et demande un Tout en insistant sur le fait qu’elle est la réjouit de voir le nom d’Amelia, la femme entretien pour sa maîtresse. Ulrike renvoie la femme de son ami le plus proche, elle finit par Acte III de son ami et secrétaire Anckarstroem. foule, mais Gustave III se cache. 15 Il est admettre qu’elle l’aime aussi. Scène 1 5 Personne n’est au courant de son amour stupéfait de voir arriver Amelia. Elle est venue 29 Anckarstroem les surprend ensemble, 1 Anckarstroem s’apprête à tuer Amelia pour secret et Anckarstroem interprète son humeur demander conseil à Ulrike au sujet de l’amour mais, dans l’obscurité, il ne reconnaît pas sa venger son aventure adultère avec le roi. Elle changeante comme la crainte justifiée d’une coupable qu’elle porte au roi. 16 Ulrike lui dit femme. Il a suivi le roi, conscient des risques admet son amour pour Gustave III, mais conspiration. 6 Gustave III refuse d’écouter de cueillir une herbe à minuit sous le gibet. que celui-ci prend constamment. Les insiste sur le fait qu’elle n’a pas trahi son mari. les avertissements d’Anckarstroem, préférant 17 Lorsqu’elle accepte de s’y rendre, conspirateurs approchent. Anckarstroem 2 Ses protestations restent vaines et elle se fier à l’amour de son peuple pour le Gustave III décide de l’y suivre. convainc Gustave III de s’échapper, pendant comprend qu’elle ne pourra échapper à la protéger. 18 – 19 Les courtisans et Oscar arrivent qu’il écarte les conspirateurs. 30 – 31 Après mort; elle supplie son mari de lui laisser dire 7 Un juge arrive et demande au roi de déguisés et se moquent d’Ulrike. Déguisé en des supplications étouffées d’Amelia, Gustave un dernier adieu à son fils. 3 – 4 prendre des mesures contre Ulrike, une pêcheur, 20 – 21 le roi demande à Ulrike de III accepte, à condition que son ami ne Anckarstroem accepte. Resté seul, il retourne bohémienne qui, dit-on, peut prédire l’avenir. lui dire la bonne aventure. Elle ne le reconnaît cherche pas à savoir le nom de la femme qui sa colère contre Gustave III et décide que c’est 8 Oscar défend cette femme avec fougue, pas et lui dit qu’il est malchanceux, puis, l’accompagne, ni ne regarde son visage, mais le roi qui doit mourir. 5 Lorsqu’arrivent 9 – 10 ce qui incite le roi à proposer d’aller lorsqu’il la presse de questions, elle prédit sa l’escorte en ville. Anckarstroem promet Ribbing et Horn, Anckarstroem leur annonce lui rendre visite sous un déguisement. Ils mort. 22 Son meurtrier sera la première d’honorer cette requête et le roi s’en va. qu’il est au courant de leur conspiration contre

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le roi, mais il leur demande de se joindre à Anckarstroem doit s’adresser à Oscar pour Pour le Metropolitan Opera, il a été Alfredo nombreux enregistrements, on notera, dans la eux, 6 offrant la vie de son fils en gage de sa connaître le déguisement du roi; Oscar le lui (La traviata), Radames (Aida), a chanté dans série de Chandos “Opera in English”, bonne foi. 7 Ils décident alors de tirer au sort révèle. 18 Amelia identifie également Gustave La Bohème, Rigoletto, et tenu les rôles de Turandot, Tosca, La Bohème, Cavalleria qui portera le coup mortel. 8 Amelia entre; III, mais malgré ses supplications, elle ne Turridu (Cavalleria Rusticana) et Canio rusticana, Pagliacci ainsi que deux disques de Anckarstroem lui explique que des morceaux parvient pas à le convaincre de quitter la (Pagliacci ). En Amérique du Nord, il s’est grands airs d’opéra; pour d’autres maisons de de papier portant des noms se trouvent dans réception. Ils se déclarent leur amour, 19 mais également produit avec le Chicago Lyric disques, il a enregistré La fanciulla del West un vase et il lui ordonne d’en choisir un. Anckarstroem se jette entre eux et commet le Opera, le San Francisco Opera, le San Diego avec Slatkin, le Requiem de Verdi sous la 9 Elle tire le nom de son mari et comprend meurtre prémédité. Les masques sont arrachés et Opera, le Vancouver Opera et il a chanté en baguette de Sir Colin Davis et une anthologie ce qui est en train de se tramer. l’identité de l’assassin est révèlé: Anckarstroem. concert avec les orchestres symphoniques de de chansons italiennes. 10 – 11 Oscar survient avec une invitation 20 Les derniers mots que prononce Gustave III Philadelphie, Cleveland, Montréal et Ottawa Dennis O’Neill a reçu le titre honorifique à un bal masqué ce même soir. Anckarstroem en mourant protestent de l’innocence d’Amelia ainsi que dans le cadre du Festival de de Companion of the British Empire au accepte en son nom et en celui de sa femme. et accordent son pardon à son ami. Tous Cincinnati. Il a chanté à São Paulo et Nouvel An 2000. Le bal lui fournira l’opportunité parfaite pour expriment leur amour pour le roi assassiné. Santiago. Il est fréquemment invité par commettre son meurtre. Les conspirateurs l’Opéra de Munich où il s’est produit dans Anthony Michaels-Moore fit ses études à choisissent ensemble leur costume et un mot © Chandos Records Ltd Un ballo in maschera, Il trovatore, Der Newcastle University et à la Royal Scottish de passe: “meurtre”. Traduction: Marie-Stella Pâris Rosenkavalier, Tosca, Lucia di Lammermoor, Academy of Music and Drama avec Eduardo Simon Boccanegra, Aida et Otello. Il a chanté Asquez. Il étudie aujourd’hui avec Neilson Scène 2 Né au Pays de Galles de parents irlandais et dans de nombreux théâtres lyriques européens, Taylor. Il fut le premier britannique à 12 – 13 Gustave III a décidé d’éloigner gallois, Dennis O’Neill est l’un des principaux entre autres à Vienne, Berlin, Bonn, Cologne, remporter le Concours Luciano Pavarotti en Anckarstroem et Amelia de sa cour. 14 Oscar ténors sur la scène mondiale et un spécialiste Hambourg, Nice, Zurich, Paris, Oslo, 1985. Il a joui d’une longue et riche remet au roi une lettre anonyme le mettant en des œuvres de Verdi. Il a longtemps collaboré Bruxelles, Barcelone, Oviedo, aux Arènes de association avec le Royal Opera House, garde contre un risque d’assassinat au cours du avec le Royal Opera House, Covent Garden, Vérone et à Turin. Il travaille de près avec le Covent Garden, devenant membre de la bal, mais le roi est déterminé à profiter de où il fut entre autres Rodolfo (La Bohème), Welsh National Opera et donne fréquemment compagnie et se produisant dans de nombreux cette fête pour avoir une chance de revoir une Duca (Rigoletto), Pinkerton (Madama des concerts très variés. rôles dont ceux de Belcore (L’elisir d’amore), dernière fois Amelia. Butterfly), Edgardo (Lucia di Lammermoor), Les séries télévisées de Dennis O’Neill pour Marcello (La Bohème), Silvio (Pagliacci ), Ping Macduff (Macbeth), Gustavo (Un ballo in la BBC furent extrêmement populaires et il a (Turandot), Ned Keene (Peter Grimes), Falke Scène 3 maschera), Foresto (Attila), Otello, Don achevé depuis, toujours pour la télévision, un (Die Fledermaus), Figaro (Il barbiere di 15 – 17 Au bal masqué. Comme toutes les Carlos, Radames (Aida), Carlo (Giovanna film sur Caruso et un autre basé sur des Siviglia), Lescaut (Manon de Massenet), personnes présentes sont masquées, d’Arco) et Jacopo (I due Foscari). célèbres musiques de films. Parmi ses Stankar (Stiffelio), Scarpia (Tosca), chantant

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également en concert le rôle-titre de la que Sir Colin Davies, Riccardo Muti, Michael Elle a souvent chanté avec le San Francisco Ernani de Verdi et d’Electra dans Idomeneo. première version de Simon Boccanegra. Il a Tilson Thomas, Sir David Willcocks, Andrew Opera, ses rôles comprenant ceux d’Angelica Parmi ses autres enregistrements, notons retrouvé la scène de Covent Garden en invité Davis, Neeme Jäarvi, Nikolaus Harnoncourt, (Orlando Furioso de Vivaldi), Anne Trulove Le Comte Ory et Il matrimonio segreto. pour le rôle-titre de Macbeth et ceux du André Previn, Michael Gielen, Leonard (The Rake’s Progress), Constanze (L’Enlèvement au Comte (Le nozze di Figaro) et de Rolando Slatkin, Rafael Frühbeck de Burgos, John Eliot sérail ), Fiordiligi (Così fan tutte) et Helena Jill Grove a fait ses études à la Music Academy (Il battaglia di Legnano). Gardiner et Sir Neville Marriner. Il a enregistré (A Midsummer Night’s Dream). Sur la scène of the West, au New England Conservatory et Pour l’English National Opera, il a chanté entre autres le Stabat Mater de Szymanowski, européenne, elle s’est produite avec l’Opéra à Stephen F. Austin State University. Elle vit en anglais Zurga (Les Pêcheurs de perles), Carmina Burana, La vestale, The Fairy Queen Néerlandais dans Le Comte Ory et Mitridate, elle aujourd’hui à New York et étudie avec Patricia Marcello (La Bohème), le Comte (Le nozze di ainsi que le rôle de Mercadante dans Orazi e a chanté le rôle de Constanze à Aix-en-Provence McCaffrey. Figaro), Eletski (La Dame de pique) ainsi que le Curiazi pour Opera Rara. et L’occasione fa il ladro avec l’Opéra de Cologne Au Metropolitan Opera à New York, Jill rôle-titre d’Eugène Onéguine; pour Opera et l’Opéra-Comique à Paris. L’opéra La traviata Grove a tenu entre autres les rôles de North, il a été Escamillo (Carmen), Marcello Susan Patterson s’inscrit parmi les grandes a dominé la carrière de Susan Patterson, elle l’a Magdalene (Die Meistersinger von Nürnberg) (La Bohème), Figaro (Le nozze di Figaro), sopranos lirico-spinto de sa génération grâce à interprété dans tous les Etats-Unis ainsi qu’avec sous la baguette de Levine, Madelon (Andrea Germont (La traviata), Posa (Don Carlos) et ses portraits très réussis de Margarita et Helena le Vancouver Opera, l’Opéra de Montréal, Chenier), Pantalis (Mefistofele de Boito), Emilia tenu le rôle-titre de Hamlet. Avec le Welsh dans Mefistofele de Boito et Rusalka de l’English National Opera, le Welsh National (Otello) et Mary (Der fliegende Holländer) sous National Opera, il a été Figaro (Il barbiere di Dvorˇák; une nouvelle mise en scène d’Ernani Opera et la Canadian Opera Company. la baguette de Valeri Gergiev. Sur d’autres Siviglia) et Eugène Onéguine. En dehors du avec Reisopera aux Pays-Bas; Mme de Tourvel Dans la salle de concert, Susan Patterson a scènes lyriques américaines, elle a été la Royaume-Uni, il a chanté avec le Chicago Lyric (Dangerous Liaisons) et Tosca avec le chanté entre autres Jephtha et le Messie de Première Norne (Götterdämmerung) avec le Opera, à La Scala de Milan, avec l’Opéra de Washington Opera; Mimì (La Bohème) et Haendel, Elijah de Mendelssohn, le Gloria de Dallas Opera, Azucena (Il trovatore) avec le Vienne, avec le Metropolitan Opera à New Aida avec le Baltimore Opera; et Manon Poulenc, le Stabat Mater de Rossini, la Tulsa Opera, Mistress Quickly (Falstaff ) avec le York, le San Francisco Opera, le Pittsburgh Lescaut dans le cadre du Festival de Spoleto Neuvième Symphonie de Beethoven à Santa Fe Opera. Elle a participé à la création Opera, l’Opéra de Paris et l’Opéra de Paris- aux Etats-Unis. Elle a fait ses débuts à La Scala Lisbonne, ainsi qu’Egmont avec le San mondiale de The Fantastic Mr. Fox de Tobias Bastille, au Théâtre de la Monnaie, au San sous Riccardo Muti dans Lodoiska de Francisco Symphony Orchestra sous la Picker avec le Los Angeles Opera. Sur la scène Carlo Napoli, au Teatro Del Liceu à Barcelone, Cherubini. Elle a chanté le Requiem de Verdi baguette de Kurt Masur. Elle a également européenne, elle a chanté au Théâtre du au Festival d’Oviedo en Espagne, avec l’Opéra avec le Washington Opera sous Placido interprété le Stabat Mater de Szymanowski et Châtelet à Paris, avec l’Opéra Néerlandais de Munich, avec le Deustche Oper à Berlin et Domingo pour le centenaire de la mort du la Symphonie “Résurrection” de Mahler avec (l’Abbesse dans Le Roi Roger de Szymanowski), au Teatro Colón à Buenos Aires. compositeur et a participé à un concert de le Los Angeles Philharmonic Orchestra. avec le Welsh National Opera (Ulrike dans Dans la salle de concert, Anthony Michaels- bienfaisance à Monte Carlo avec Luciano Pour la série de Chandos “Opera in Un ballo in maschera) et avec l’English National Moore a chanté sous des chefs aussi éminents Pavarotti. English”, elle a enregistré le rôle d’Elvira dans Opera (Marfa dans La Khovanchtchina).

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Jill Grove travaille régulièrement avec les plus Scottish Opera et à l’Opera North, Marcello Daniel et avec le Hallé Orchestra. Christopher Rossini, Winter Solstice de Panufnik et grands orchestres et chefs d’orchestre du monde. (La Bohème) au Scottish Opera, Papageno Purves a fait ses débuts en récital au Festival Canticum Sacrum de Stravinsky. Elle a interprété la Neuvième Symphonie de (Die Zauberflöte), Faninal (Der Rosenkavalier) d’Aldeburgh en juin 2004. Ses enregistrements Sur la scène lyrique, il a été entre autres Beethoven avec le Los Angeles Philharmonic au Welsh National Opera et à l’Opera North, incluent le rôle-titre dans The Marriage of Publio (La clemenza di Tito) et Pluton Orchestra, l’Atlanta Symphony Orchestra, le Podesta (La gazza ladra) au Garsington Opera, Fiagaro et le rôle de Gottardo (La gazza ladra) (L’anima del filosofo) pour le Royal Opera Houston Symphony Orchestra et le Detroit Siegfried (Genoveva) et Dulcamara (L’elisir pour la série Opera in English de Chandos. House, Covent Garden; Melisso (Alcina) pour Symphony Orchestra. Elle a chanté la Troisième d’amore) à l’Opera North. Il a créé le rôle du l’Opéra de Montpellier; le Fonctionnaire de Symphonie de Mahler dans le cadre du Festival Bourreau dans Ines de Castro de James Né dans le Lancashire, Brindley Sherratt a l’immigration (Flight de Jonathan Dove) pour du Schleswig-Holstein et avec le Houston Macmillan. Il s’est produit dans Parthenogenesis étudié la trompette et le chant à la Royal de Vlaamse Opera; le Superintendant Budd Symphony Orchestra, la Missa Solemnis de de Macmillan au Festival d’Édimbourg, où il a Academy of Music. (Albert Herring) pour Glyndebourne Touring Beethoven, Alexandre Nevski de Prokofiev avec le également chanté le rôle de Cecil dans Maria Il se produit régulièrement en concert et a Opera; et Basilio (Il barbiere di Siviglia) et le National Symphony Orchestra, et la Symphonie Stuarda sous la direction de Sir Charles chanté entre autres La Passion selon saint Jean Commandeur (Don Giovanni) pour “Jeremiah” de Bernstein au Festival de Ravinia. Mackerras. avec Trevor Pinnock à Londres et Lucerne, le Garsington Opera. Il a également chanté des En tant que membre du Houston Grand Opera En concert, Christopher Purves s’est produit Requiem et la Messe en ut mineur de Mozart Messes de Haydn en tournée en Suisse avec Studio, elle a chanté plusieurs rôles dont celui dans la Messe en ut mineur de Mozart à Aix- aux Festivals de Swansea et York avec Jane Sir John Eliot Gardiner et le Monteverdi d’Anne Kronenberg dans la création mondiale en-Provence avec l’ensemble Sixteen, les Vêpres Glover et les London Mozart Players, Judas Choir, le Messie aux Etats-Unis avec Robert de Harvey Milk et celui de Thisbe dans de 1610 de Monteverdi sous la direction de Maccabeus et les Vêpres de Mozart pour King, La Passion selon saint Matthieu avec La Cenerentola avec Cecilia Bartoli. Richard Hickox, la Messe en si mineur de l’inauguration du Symphony Hall avec le City Trevor Pinnock à Vienne, Salzbourg, Paris et Bach au Festival de La Chaise-Dieu, Judas of Birmingham Symphony Orchestra, La au Japon, des cantates de Bach avec Gardiner Christopher Purves a étudié la littérature Maccabeus de Haendel à Nuremberg, Saul avec Passion selon saint Jean à Bonn et Les Noces de et The Creation avec Pinnock dans le cadre du anglaise au Kings College de Cambridge avant le Gabrieli Consort à Covent Garden et à Stravinsky à Paris avec Pierre Boulez et Festival de Lausanne. de se produire et d’enregistrer avec le groupe La Chaise-Dieu, l’Apocalypse de John Tavener l’Ensemble Intercontemporain, Canticum vocal de rock and roll très innovateur, Harvey aux BBC Proms de Londres avec le City of Sacrum de Stravinsky à Paris avec le BBC Native du Cheshire, Linda Richardson a fait and the Wallbangers. À la suite de la dissolution London Sinfonia, Les Mamelles de Tirésias avec Symphony Orchestra, l’opéra Il prigioniero de ses études au Royal Northern College of Music du groupe en 1988, il reprit ses études vocales le London Sinfonietta sous la direction de Dallapiccola à Turin, le Messie et le Te Deum où elle a bénéficié d’une bourse de la Peter avec David Keren, Diane Forlano et Janice Sir Simon Rattle, le War Requiem de Britten et de Texeira avec Harry Christophers à Hong- Moores Foundation, puis au National Opera Chapman. Die Schöpfung de Haydn avec l’Orchestre Kong. Il a participé à plusieurs concerts pour Studio. Il a chanté des rôles tels que Figaro (Le d’Ulster, et Belshazzar’s Feast avec l’English la radio, chantant entre autres la Messe en ut L’une des vedettes de la compagnie de nozze di Figaro) au Welsh National Opera, au Northern Sinfonia sous la direction de Paul mineur de Mozart, la Petite Messe solennelle de l’English National Opera, elle a tenu entre

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autres sur cette scène les rôles de Fiordiligi Natif du Berkshire en Angleterre, Roland McAlpine et au National Opera Studio, grâce remarquablement varié, depuis la musique (Così fan tutte), Lauretta (Gianni Schicchi ), Wood fit ses études au Royal Northern à une bourse des Amis de Covent Garden et ancienne jusqu’à la musique contemporaine, se Micaëla (Carmen), Gretel (Hansel andGretel ), College of Music avec Patrick McGuigan et une bourse Nelly Groner. Parmi ses rôles à produisant en Scandinavie, en Allemagne, Gilda (Rigoletto), Zerlina (Don Giovanni ), Robert Alderson, puis au National Opera l’opéra, notons ceux de Ferrando (Così fan dans l’ancienne Tchécoslovaquie, au Canada et Sophie (Der Rosenkavalier), Mimì Studio avec le soutien de la Peter Moores tutte), Nemorino (L’elisir d’amore), Ernesto en Australasie. Après avoir fait ses premières (La Bohème), Violetta (La traviata), Woglinde Foundation et de l’English National Opera. (Don Pasquale), Fenton (Falstaff ) et Male armes de chef d’orchestre avec la BBC, il (Das Rheingold ), Helena (A Midsummer Night’s Il débuta sa carrière à l’opéra comme Chorus (The Rape of Lucretia). décida de prendre une part active dans ce Dream) ainsi que les rôles-titres dans The Fairy baryton-basse, chantant entre autres Silva Il a chanté en concert au Barbican Concert domaine avec ses propres chanteurs et fonda le Queen et Alcina. Elle a été Karolka (Jenu˚fa), (Ernani) et Colline (La Bohème); Luka Hall, au Royal Glasgow Concert Halls, au Geoffrey Mitchell Choir. Par suite de ses Mimì, Nanetta (Falstaff ), Pamina (Die (The Bear) et Martino (L’occasione fa il ladro) Queen Elizabeth Hall, à St John’s Smith premiers enregistrements l’ensemble travaille Zauberflöte) et Violetta pour Opera North; pour le Walton Trust à Ischia; et Zaretski Square et à St Martin in the Fields; il a depuis longtemps avec Opera Rara pour qui il Lisetta (La vera constanza) à Garsington, (Eugène Onéguine) pour l’Opéra de l’Union interprété entre autres La Passion selon saint a réalisé plus de trente enregistrements. Ce Norina (Don Pasquale) pour Clonter Opera et Européenne. Il décida par la suite de passer Matthieu, un récital de mélodies pour voix et Chœur ne cesse d’élargir sa réputation, The Fairy Queen à Barcelone. baryton et a récemment été Josev Prasov dans harpe de Britten à Aldeburgh; il a fait des travaillant avec la BBC et plusieurs maisons de Dans la salle de concert, elle a participé à la le création mondiale de The Bridge et le tournées en Europe et aux Etats-Unis, disques internationales. Pour Chandos, le première de diverses œuvres inconnues de Comte (Le nozze di Figaro) au Royal interprétant et enregistrant le nouvel opéra Geoffrey Mitchell Choir a participé à plusieurs Haydn dans le cadre de l’English Haydn Northern College of Music et pour Opera vidéo de Steve Reich, Three Tales. enregistrements pour Opera in English, une Festival, elle a chanté le Requiem de Brahms Holland Park. Il a chanté dans Die Fledermaus au Grand série de disques très prisés financée par la Peter avec le Northern Sinfonia, le Messie avec Il a également tenu plusieurs rôles pour le Opéra de Dublin, a tenu les rôles de Normanno Moores Foundation. l’English Chamber Orchestra en Espagne, Glyndebourne Festival Opera et l’English (Lucia di Lammermoor) avec Opera Holland Les Illuminations de Britten avec l’Orchestre National Opera, faisant ses débuts à l’English Park, Gawain lors de la première de l’opéra de Le London Philharmonic Orchestra est depuis de Chambre de la Radio Néerlandaise et National Opera dans le Baron (La traviata). Lynne Plowman, Gawain and the Green Knight longtemps réputé pour la multiplicité de ses Carmina Burana au Royal Festival Hall. Roland Wood est l’une des têtes d’affiche de avec Music Theatre Wales et Tamino (The Little talents et son excellence en matière artistique. Linda Richardson tient le rôle d’Annie dans Scottish Opera où ses rôles ont inclus Dr Falke Magic Flute) avec Opera North. Pami ses Ces qualités se manifestent dans la salle de When She Died, un opéra de Jonathan Dove (Die Fledermaus), Marullo (Rigoletto) et enregistrements, notons Contrabandista et concert comme sur la scène lyrique, dans ses pour la chaîne de télévison Channel 4, et Papageno (Die Zauberflöte). L’Esule di Granata pour Opera Rara. nombreux enregistrements primés, ses tournées elle a enregistré entre autres Hearts and internationales innovatrices et son travail Flowers, un recueil de chansons de salon Ashley Catling a fait ses études à la Guildhall Durant sa carrière de chanteur, Geoffrey d’avant-garde dans le domaine éducatif. Kurt victoriennes. School of Music and Drama avec William Mitchell aborda un répertoire Masur est chef principal de l’Orchestre depuis

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septembre 2000. Parmi ses prédecesseurs, Glyndebourne en 1996, une scène qu’il Ford, Diana Montague, Dennis O’Neill, Aida, Faust, Cavalleria rusticana, Pagliacci, depuis la fondation de l’Orchestre en 1932 par retrouva en 1998 pour diriger la création Alastair Miles, Yvonne Kenny, John La bohème, Turandot, l’enregistrement primé Sir Thomas Beecham, notons Sir Adrian Boult, mondiale de Flight de Jonathan Dove. Tomlinson, Della Jones et Andrew Shore) de Tosca et des extraits de Der Rosenkavalier, Sir John Pritchard, Bernard Haitink, Sir Georg Il séjourne fréquemment en Espagne où il a de même que The Marriage of Figaro, Don tous ces enregistrements étant réalisés en Solti, Klaus Tennstedt et Franz Welser-Möst. dirigé en concert la plupart des grands Giovanni, Don Pasquale, The Elixir of Love, collaboration avec la Peter Moores Depuis 1992, le London Philharmonic orchestres espagnols. C’est lui qui dirigea la Lucia of Lammermoor, Ernani, Il trovatore, Foundation. ua carriera comeOrchestra assistente est orchestredi Sir John symphonique Pritchard. en première espagnole de Peter Grimes à Madrid résidence au Royal Festival Hall. Il est et en 1996 la première production espagnole également orchestre symphonique en résidence de The Rake’s Progress. Il a dirigé en au Glyndebourne Festival Opera depuis trente- Allemagne, en Suisse, aux Pays-Bas, au Festival huit ans. de Pesaro en Italie, au Festival international de Hong-Kong, au Japon pour une tournée de Après avoir étudié avec Sergiu Celibidache, Carmen et au Mexique avec l’Orchestre David Parry commença sa carrière comme symphonique d’UNAM. Il a récemment assistant de Sir John Pritchard. Il fit ses débuts dirigé plusieurs nouvelles productions dont avec l’English Music Theatre avant de devenir Fidelio au Festival de Nouvelle-Zélande, l’un des chefs d’orchestre au Städtische Lucia di Lammermoor avec le New Israeli Bühnen à Dortmund et à Opera North. Opera et Don Giovanni a l’Opéra d’état de Directeur musical d’Opera 80 de 1983 à 1987, Hannover. il est directeur musical d’Almeida Opera En studio, il a participé entre autres depuis sa fondation en 1992. à la production de la BBC Television de Sa carrière, nationale et internationale, est Der Vampyr de Marschner, dirigeant aussi extrêmement remplie, aussi bien sur la scène vingt-huit intégrales d’opéras financées par la lyrique qu’en concert. Il a dirigé plusieurs Peter Moores Foundation. Plusieurs de ces productions de l’English National Opera et de intégrales furent enregistrées pour Opera Rara l’Opera North et collabore régulièrement avec et primées, Rosmonda d’Inghilterra de le Philharmonia Orchestra et le London Donizetti recevant en Belgique le Prix Cecilia. Philharmonic Orchestra. C’est avec Così fan Pour Chandos, David Parry a dirigé une série tutte qu’il fit ses débuts au Festival de d’enregistrements d’airs d’opéra (avec Bruce

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Illustration from the cover of a vocal score of A Masked Ball, showing the first cast (Gaetano Fraschini as Riccardo (Gustavus III), Leone Giraldoni as Renato (Anckarstroem), Caricature of Verdi and the censor of A Masked Ball, 1858–59 and Eugenie Julienn-Dejean as Amelia), with Focosi’s designs

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toni cupi, completamente diversi da tutto trovare le erbe per la sua pozione purificatrice Verdi: Un ballo in maschera quanto si era sentito finora. Il suo canto evoca in un luogo di morte. Una cosa è certa nella i gemiti dell’oltretomba e il cromatismo della mente dell’ascoltatore: la musica qui è presagio La partitura vocale di A Masked Ball (versione del tenore (teoricamente in privato) e una musica striscia come un brivido soprannaturale di sventura. Sarà anche una descrizione della inglese) è rimasta catalogata per anni sotto la grave nota di avvertimento solidale da parte sulla pelle dei vivi. Questo è il luogo e questa è scena selvaggia e lugubre o della turbolenza dei categoria “Opera leggera, Commedia musicale del baritono non riescono a evocare ombre la persona scelta dai cortigiani per la loro sentimenti di Amelia, ma la sentiamo sinistra, etc.” nella nostra biblioteca locale. Un errore cupe. Lo stato d’animo è stabilito dall’elegante scommessa; ma noi arriviamo prima di loro e crea uno stato d’animo di estrema tensione comprensibile, si direbbe, e infatti richiama melodia e dal leggero accompagnamento del ciò che abbiamo visto non è uno scherzo. non solo nell’immediato presente, ma in vista l’attenzione sulla tesi raramente accettata che il Re ,“La rivedrà nell’estasi” (“There I shall gaze L’arrivo di Amelia suggerisce quanto questo dell’azione che sta per svolgersi. E anche la titolo riveli una sinistra ironia, come uno in ecstasy”), dal cinguettio elegante di “Volta la diversivo sia intimamente legato alla trama fortuna trova un’altra maschera. Dopo i terrori scherzo di cattivo gusto, un po’ come un terrea fronte” (“She conjures from afar”) di principale e la musica fatale ne proclama la della campana di mezzanotte e le sue visioni lavoro intitolato Una serata a teatro e Oscar e dal finale travolgente di cortigiani gravità. I sorrisi sono scomparsi; il lieto d’orrore, Amelia trova consolazione nella incentrato sull’assassinio di Abramo Lincoln. impegnati a pregustare una giocosa spedizione linguaggio della prima scena si rivela una speranza della misericordia divina e poi, con A prima vista, un lettore che avesse preso in presso la Sibilla. L’ascoltatore sorride, batte il maschera comica adesso caduta. E per quanto l’arrivo del re, nel calore dell’amore umano. Il prestito la partitura per suonarla al pianoforte piede a tempo e ha voglia di partecipare. Chi Gustavo, il re, cerchi di ristabilire l’allegria con più appassionato duetto d’amore dell’intera o seguire la musica su disco potrebbe anche ha preso in prestito la partitura, per quanto la sua barcarola leggermente comica (“Di’ tu se produzione verdiana viene pronunciato ritenere adeguata la catalogazione. Il Preludio possa dubitare della precisione del termine fedele” – “Do you see the furious billows”) all’ombra del patibolo, ma il breve intervallo ha uno sviluppo lirico, ma si apre con una “commedia musicale”, è comunque incantato l’atmosfera è pronta per la tragedia. di felicità termina con una catastrofe. Mentre piccola figura allegra simile a una terzina, di avere scoperto un’avvincente opera leggera Questa è un’opera di maschere. La prima suo marito si avvicina, Amelia abbassa il velo; giocosa, persino maliziosa, che comunque di Verdi. scena indossa la propria frivolezza per poi, quando i cospiratori li raggiungono, sotto suggerisce il comico piuttosto che il tragico. “E ora basta sorridere!” È come se Verdi, nascondere le realtà delle congiure traditrici e le luci il velo tragicamente scivola. Ancora una Nessun’altra opera di Verdi inizia in questo avendo iniziato l’opera nel suo stile più delle passioni pericolose. Nella seconda il re si volta cade una maschera, ma la rivelazione modo, e l’ouverture è diametralmente opposta affascinante, adesso calasse un pugno sul nasconde sotto la maschera dell’anonimato. La continua a mascherare la verità. (per esempio) a quella del melodramma tavolo con tre accordi pieni di tensione. fortuna, momentaneamente rivelata nella sua Nella scena della Biblioteca nell’Atto III, successivo, La forza del destino. All’improvviso, la tonalità maggiore passa vera forma dalla profezia di Ulrica, prende la fondamentale per l’opera nonostante l’assenza Anche quando si è alzato il sipario, selvaggiamente a quella minore. Sulla scena la maschera della Sicurezza quando il del suo protagonista, l’amico e marito predomina la geniale modalità dell’opera tetra capanna della zingara illuminata dal condannato stringe la mano al suo fidato oltraggiato affronta quella che considera la leggera. Qualche mormorio di congiura, fuoco prende il posto degli splendori di corte. amico che sarà il suo assassino. nuova realtà della sua vita. La sua aria (“Eri un’appassionata espressione d’amore da parte La maga Ulrica invoca il re delle tenebre in Ora, all’inizio dell’Atto II, Amelia cerca di tu” – “Shame on you”) passa dalla fatale

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agitazione delle drammatiche battute di sovrano amato dal popolo, il burlone, il ballare e gradualmente il complesso smette di maschera. Come un’immagine musicale, la apertura, indurite dall’infuso degli ottoni, ai galante, l’innamorato ma, per quanto queste suonare (il direttore e il violinista accanto a lui figura di tre note permea l’opera, comparendo sentimenti più teneri di perdita personale, siano tutte vere qualità (come prova la sono probabilmente gli ultimi a rendersi conto in varie vesti e infine, ampliata e nobilitata, è mentre la dolcezza dei tempi passati viene musica), si tratta sempre di sfaccettature: qui dell’accaduto). La “vera” partitura prende il utilizzata per rappresentare la tragedia verso la rappresentata dall’arpa e dal flauto. La vera entra in campo l’uomo vero. Ma non si tratta sopravvento e il Re mortalmente ferito quale tutto si dirigeva. nobiltà di questa donna che, senza maschera, è solo di parole (o solo in senso superficiale): è pronuncia il suo messaggio di assoluzione. Ma Tra tutte le opere di Verdi, Un ballo in apparsa in una luce così falsamente ignobile, la musica che rende reale l’agonia della sua il culmine emotivo arriva mentre le voci si maschera è stata oggetto delle teorie più prende corpo nella grave semplicità dell’aria decisione di mandare via l’amico innalzano insieme cogliendo l’ispirazione del fuorvianti. Naturalmente molto si può dire seguente (“Morrò, ma prima in grazia” – “I go, Anckarstroem e Amelia, (“Ah, l’ho segnato” – momento in tre frasi ad arco, ciascuna più alta sulle circostanze (personali e storiche) della sua but in compassion”). Ancora una volta in tutta “Ah, I have signed it”) e la sublimazione dei e ampia della precedente. È sempre un composizione, sull’accoglienza riservata alla la produzione verdiana probabilmente non suoi desideri ancora dolorosi. Questo è l’uomo momento di grandissimo effetto nella prima e agli spettacoli successivi, sui problemi esiste un assolo che esprima in maniera più senza maschera. Ma quella gli sarà imposta alla rappresentazione e addirittura provoca la con la censura e le conseguenti modifiche alla commovente una sentita insistenza unita a un fine da una metamorfosi ancora più potente sensazione istintiva dell’esistenza di un tema vicenda e ai nomi dei personaggi. L’opera fu ritegno altrettanto dignitoso. In entrambe le nella partitura in quello che sarà il momento che, quasi impercettibilmente, ha permeato scritta nel 1859, anno determinante per il arie è la qualità della musica a determinare la culminante dell’opera, dal punto di vista l’opera e adesso si manifesta nel suo momento Risorgimento italiano. Gli Austriaci erano stati nostra reazione e nonostante l’epilogo più musicale ed emotivo. apocalittico. cacciati dalla Lombardia e si preparava un drammatico debba ancora venire, la seria La catastrofe viene magistralmente Se così è, c’è un’ottima ragione: si dà il caso parlamento nazionale. Gli Italiani melomani profondità dell’opera viene scandagliata qui: orchestrata. Proprio come l’espediente di una che sia vero. Questi “archi” sono potevano gridare sinceramente “Viva Verdi!”, nei passaggi drammaticamente statici dell’aria commedia nella commedia intensifica essenzialmente frasi melodiche di tre note, di ma il fervore della loro esclamazione era prende corpo il lavoro unicamente lirico, efficacemente l’illusione di una realtà cui la più alta è quella centrale. È una figura lietamente rafforzato dalla consapevolezza che l’evocazione di potenti sentimenti in un drammatica (quella era finzione, questa è che ritorna in determinati momenti chiave il nome del compositore poteva leggersi come contesto drammatico attraverso la musica e il realtà), così l’interpolazione della musica di durante la partitura, per esempio nel duetto sigla di Vittorio Emanuele Re D’Italia. Non fu canto. scena può farci dimenticare che la partitura d’amore dell’Atto II, l’aria di Amelia che lo una sorpresa che la censura nel reazionario Per la scena finale entrano in campo stessa è musica per il teatro: in entrambi i casi, precede e il trio della scena precedente1. E per Regno di Napoli respingesse un’opera davvero le maschere. Prima, però, il re ha il la principale rappresentazione, drammatica e/o quanto lontanissima per stato d’animo e culminante nell’assassinio di un re o che Verdi proprio assolo, che crea equilibrio nel trio dei musicale, fa un passo per farsi accettare come maniera, la figura di tre note è anche quella la trasferisse a Roma per cercare un protagonisti, aggiungendosi alle grandi arie di realtà. Al ballo mascherato il complesso di della terzina leggera, giocosa che apre l’intera compromesso. La trama era originariamente Amelia e Anckarstroem. È qui che si rivela la corte esegue musica da ballo nel momento opera e ritorna di tanto in tanto in tutta incentrata sull’assassinio di Gustavo III di sua vera personalità. Finora abbiamo visto il dell’assassinio. Gli ospiti inorriditi smettono di l’opera. Questo è l’estrema caduta della Svezia nel 1792. Si trattava di un episodio

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storico relativamente recente avvenuto in una La perversità di tutto questo sarà evidente spettacolo] regala al pubblico un tesoro di 1L’argomento è stato elaborato e approfondito nazione relativamente non lontana. Per la agli ascoltatori inglesi che si accostano sfumature”. Pensiamo a tutti i grandi nel saggio dell’autore su Un ballo in maschera prima romana, furono ampliate le distanze dal nuovamente all’opera adesso in questa cantanti che hanno interpretato le tre parti pubblicato nel programma del Festival di punto di vista temporale e geografico, traduzione inglese, come deve essere per coloro principali, con i risultati talvolta notevoli degli Salisburgo del 1990. trasferendo la vicenda nella Boston del che la conoscono e l’amano attraverso gli Oscar e delle Ulriche: queste sono parti Seicento. Questa versione, in cui i protagonisti allestimenti nell’italiano originale. I vantaggi dell’eredità generale dell’opera. Ma, Argomento portavano nomi italiani, fu eseguita per oltre particolari di un testo inglese per un pubblico essenzialmente, per quello che è Un ballo in un secolo e l’ambientazione svedese fu anglofono includono la probabilità di maschera, bisogna richiamare alla mente le COMPACT DISC ONE ripristinata con regolarità sempre maggiore comprendere meglio la congiura, il motivo note, il suo suono. Le grandi arie, famose su dalla metà del XX secolo in poi. della visita del re alla zingara e i particolari disco molto prima che si realizzasse una Atto I Anche tutto questo è interessante in sé; degli avvertimenti e riconoscimento al ballo. registrazione integrale, la dicono lunga. Scena 1 peccato che produttori, critici e accademici Ma in generale la musica e l’azione narrano la Il duetto d’amore dell’Atto II (“Da mesi non 1 – 2 Un gruppo di cortigiani e supplicanti abbiano incentrato l’attenzione su questi temi storia insieme, in inglese o in italiano. E senza sentivo un applauso così spontaneo” scrive lo attende il Re e comprende sudditi fedeli e come se fossero fondamentali per apprezzare la musica di Verdi (sebbene questo si stesso critico dello spettacolo del 1919) e i alcuni scontenti guidati dal conte Ribbing e l’opera. A leggere alcuni commenti moderni si dedurrebbe appena dalla maggior parte delle concertati dell’Atto I emergono indelebilmente dal conte Horn, che complottano per potrebbe immaginare che sia importante recensioni attuali) le parole e le azioni sono nella memoria. E a coronamento di tutto è assassinarlo. 3 – 4 Quando Oscar, suo comprendere questo capitolo della storia artisticamente prive di valore o potere di quella sublime frase che si inarca, la voce del fattorino, gli mostra l’elenco degli invitati al svedese e, incidentalmente, dare peso alla sopravvivenza. soprano che tocca il do alto nella scena ballo in maschera che si prepara, il sovrano è nozione dell’omosessualità di Gustavo. Gli Un fattore di sopravvivenza per l’opera è la della morte del re, che a sua volta coinvolge eccitato nel vedere il nome di Amelia, moglie ideali del Risorgimento e le preoccupazioni magnificenza della scrittura verdiana per il tanto, attraverso quella figura di tre note del suo amico e segretario Anckarstroem. generali sull’illuminazione e sulla sovversione canto. In un periodo in cui tali opere erano sparsa in tutta l’opera. Verdi ebbe poco 5 Nessuno sa del suo amore segreto e sono inoltre vagliati nel moderno tentativo fuori moda tra la classe intelligente e colta, tempo quando compose quest’opera. La Anckarstroem attribuisce i suoi sbalzi di critico di stabilire l’“argomento” dell’opera. A l’emozione del grande canto continuava a completò in due mesi e mezzo e forse questo umore al giustificato timore di una congiura. causa di tali preoccupazioni Un ballo in sorreggere lo spettacolo. In generale Un ballo aiuta a spiegare come mai, sebbene nessuna 6 Gustavo rifiuta di ascoltare gli avvertimenti maschera ha subito allestimenti teatrali in maschera non riuscì a convincere quando fu delle sue partiture abbia una portata più varia, di Anckarstroem e preferisce fidarsi del suo “concettuali” che, nella peggiore delle ipotesi, riproposto al Covent Garden nel 1919 ma, nessuna possieda un’unità più stretta, più popolo che lo ama e lo proteggerà. sono stati talmente fuorvianti per la mente come riferì un critico, “Le noiose convinzioni organica. 7 Arriva un giudice e chiede al re di passando per la vista da lasciare all’udito solo non valgono un fico quando Martinelli condannare Ulrica, una zingara che, secondo una funzione marginale, accessoria. [Giovanni Martinelli, il tenore di quello © 2004 John Steane alcuni, ha il dono di leggere nel futuro.

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8 Oscar la difende vivacemente 9 – 10 e al predice sfortuna e, dietro le sue insistenze, guardarla in viso. Anckarstroem promette del complotto contro il Re, ma chiede di re viene l’idea di travestirsi e andare a farle 22 gli predice la morte per mano della di esaudire questa richiesta e il Re si unirsi a loro, 6 giurando sulla vita del figlio. visita con il suo seguito. Tutti decidono di prossima persona che gli stringerà la mano. allontana. 7 I tre decidono di estrarre a sorte il nome di incontrarsi più tardi quella notte alla sua Anckarstroem, che arriva in ritardo, saluta il 32 I congiurati sorprendono l’uomo che chi dovrà colpire a morte il re. 8 Entra capanna. Re. La profezia sembra così contraddetta, pensano sia Gustavo e la sua nuova amante. Amelia e Anckarstroem le chiede di estrarre soprattutto perché solo adesso Ulrica riconosce Vedendo che si tratta invece di Anckarstroem, uno dei nomi scritti su delle strisce di carta e Scena 2 il suo ospite. La zingara continua ad cercano di obbligarlo a rivelare l’identità della sistemati in un vaso. 9 La donna estrae il 11 Ulrica, circondata da donne e ragazzi, ammonirlo contro la congiura, ma Gustavo la donna. Amelia, terrorizzata dalle minacce al nome del marito e capisce cosa sta succedendo. esegue un rito satanico. 12 Arriva il re ignora. marito, lascia scivolare il velo. Anckarstroem 10 – 11 Entra Oscar con un invito al ballo travestito. 13 Quando Ulrica predice una rimane inorridito. 33 Mentre i congiurati si in maschera di quella sera e Anckarstroem promozione a Cristiano, un giovane marinaio, Atto II allontanano, ridendo alle sue spalle, chiede a accetta a nome suo e della moglie. Il ballo gli 14 il Re scrive in fretta un biglietto su un 23 È mezzanotte sotto il patibolo. Ribbing e Horn di andare a casa sua il giorno offre una possibilità ideale di assassinare il re. rotolo di denaro e lo sistema nella tasca del 24 – 25 Amelia è venuta a cercare l’erba ed è dopo e riaccompagna la moglie in città. Insieme i congiurati decidono il proprio marinaio. La profezia di Ulrica si è così tormentata dal suo conflitto fra amore e travestimento e la parola d’ordine: “morte”. avverata e i presenti esaltano i suoi poteri. dovere. 26 – 28 È stupefatta quando compare COMPACT DISC TWO Entra il servitore di Amelia e chiede un il re e dichiara il suo amore per lei. Anche Scena 2 colloquio a nome della sua padrona. Ulrica dopo aver sottolineato che è la moglie del suo Atto III 12 – 13 Gustavo ha deciso di allontanare manda via tutti, ma Gustavo si nasconde. migliore amico, alla fine la donna è costretta Scena 1 Anckarstroem e Amelia dalla sua corte. 15 È stupefatto quando arriva Amelia. La ad ammettere che ricambia il suo amore. 1 Anckarstroem si prepara a uccidere Amelia 14 Oscar gli consegna una lettera anonima che donna, tormentata dall’amore proibito per il 29 Anckarstroem li sorprende insieme, ma per vendicare il suo adulterio con il Re. La lo avverte del pericolo di essere assassinato al re, è venuta a chiedere consiglio alla zingara. nell’oscurità non riconosce la moglie. Ha donna ammette di amare Gustavo, ma nega di ballo, ma il Re è deciso a utilizzare la festa per 16 Ulrica le ordina di raccogliere un’erba a seguito il Re, consapevole dei rischi che il aver tradito il marito. 2 Quando le sue vedere Amelia per l’ultima volta. mezzanotte sotto il patibolo. 17 Quando sovrano corre costantemente. I congiurati si proteste vengono ignorate, si rende conto che Amelia accetta di andare, Gustavo decide di avvicinano. Anckarstroem si dichiara pronto a la morte è inevitabile e supplica di poter dire Scena 3 seguirla. tenerli a bada e convince Gustavo a fuggire. addio al figlio. 3 – 4 Anckarstroem accetta 15 – 17 Al ballo, Anckarstroem fa delle 18 – 19 Arrivano i cortigiani e Oscar 30 – 31 Dopo alcune suppliche soffocate di e, rimasto solo, rivolge la sua ira contro domande a Oscar per farsi rivelare quale sarà il travestiti e scherniscono Ulrica. 20 – 21 Il re, Amelia, Gustavo accetta, a patto che il suo Gustavo, poi decide che dovrà essere il re a travestimento del Re. 18 Anche Amelia vestito da pescatore, le chiede di rivelargli il amico accompagni la donna fino alla porta morire. 5 All’arrivo di Ribbing e Horn, riconosce Gustavo ma, nonostante le sue futuro. Ignara della sua identità, la zingara gli della città senza chiedere il suo nome né Anckarstroem dichiara di essere a conoscenza suppliche, non riesce a convincerlo a lasciare la

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festa. Entrambi si dichiarano amore, 19 ma rusticana) e Canio (Pagliacci ). In Nord diretta da Sir Colin Davis e un’antologia di (La Bohème), il Conte (Figaro’s Wedding), Anckarstroem si lancia fra loro e commette il America inoltre è stato impegnato con i teatri arie italiane. Dennis O’Neill ha ricevuto il Yeletsky (The Queen of Spades) e il ruolo di premeditato delitto. Le maschere sono lirici di Chicago, San Francisco, San Diego, titolo di Commander of the British Empire protagonista in Eugene Onegin; per Opera strappate e l’identità del assassino e rivelata. Vancouver e ha svolto concerti con le orchestre nel 2000. North è stato Escamillo (Carmen), Marcello 20 Con le sue ultime parole, Gustavo protesta sinfoniche di Philadelphia, Cleveland, (La Bohème), Figaro (The Marriage of Figaro), l’innocenza di Amelia e perdona l’amico. Il Montreal e Ottawa, e con il Cincinnati Anthony Michaels-Moore ha frequentato Germont (La traviata), Posa (Don Carlos), e il popolo esprime il proprio amore per il re Festival. È comparso a São Paolo e Santiago. l’università di Newcastle e la Royal Scottish protagonista in Hamlet. La Welsh National assassinato. Frequente ospite della Bayerische Staatsoper di Academy of Music and Drama con Eduardo Opera lo ha visto nelle vesti di Figaro Monaco, ha interpretato Un ballo in maschera, Asquez. Oggi studia con Neilson Taylor. È (Il barbiere di Siviglia) ed Eugenio Onieghin. © Chandos Records Ltd Il trovatore, Der Rosenkavalier, Tosca, Lucia di stato il primo vincitore britannico del All’estero ha lavorato alla Lyric Opera di Traduzione: Emanuela Guastella Lammermoor, Simon Boccanegra, Aida e Otello. concorso di Luciano Pavarotti nel 1985. Ha al Chicago, alla Scala di Milano, all’Opera di Ha cantato nei teatri lirici di Vienna, Berlino, suo attivo un lungo e fruttuoso rapporto con Stato di Vienna, alla Metropolitan Opera di Nato in Galles da padre irlandese e madre Bonn, Colonia, Amburgo, Nizza, Zurigo, la Royal Opera House, Covent Garden; è New York, all’Opera di San Francisco e di gallese, Dennis O’Neill è uno dei principali Parigi, Oslo, Bruxelles, Barcellona, Oviedo, diventato membro della Compagnia ed è Pittsburgh, all’Opéra de Paris e l’Opéra de tenori a livello mondiale ed è specializzato nel all’Arena di Verona e a Torino. Inoltre ha un comparso in numerosi ruoli tra cui Belcore Paris-Bastille, al teatro La Monnaie, al San repertorio verdiano. Ha al suo attivo una lunga rapporto particolare di collaborazione con la (L’elisir d’amore), Marcello (La Bohème), Silvio Carlo di Napoli, al Teatro Del Liceu di collaborazione con la Royal Opera House, Welsh National Opera e svolge un’intensa e (Pagliacci ), Ping (Turandot), Ned Keene Barcellona, al festival spagnolo di Oviedo, alla Covent Garden, dove ha interpretato numerosi ricca carriera concertistica. (Peter Grimes), Falke (Die Fledermaus), Figaro Bayerische Staatsoper di Monaco, alla ruoli tra cui Rodolfo (La Bohème), il Duca Le serie televisive di Dennis O’Neill per la (Il barbiere di Siviglia), Lescaut (Manon di Deutsche Oper Berlin e al Teatro Colón di (Rigoletto), Pinkerton (Madama Butterfly), BBC hanno riscosso enorme successo e il Massenet), Stankar (Stiffelio), Scarpia (Tosca); Buenos Aires. Edgardo (Lucia di Lammermoor), Macduff tenore ha successivamente girato un film inoltre ha sostenuto il ruolo di protagonista in Anthony Michaels-Moore ha cantato in (Macbeth), Gustavo (Un ballo in maschera), televisivo su Caruso e un altro in cui interpreta alcune versioni in concerto della prima concerto con direttori quali sir Colin Davis, Foresto (Attila), Otello, Don Carlos, Radames famose colonne sonore. Le sue numerose versione del Simon Boccanegra. È ritornato in Riccardo Muti, Michael Tilson Thomas, (Aida), Carlo (Giovanna d’Arco) e Jacopo registrazioni comprendono, per la serie Opera veste di ospite per interpretare il ruolo di Sir David Willcocks, Andrew Davis, Neeme (I due Foscari ). in English di Chandos, Turandot, Tosca, protagonista nel Macbeth, quello del Conte Järvi, Nikolaus Harnoncourt, André Previn, Per la Metropolitan Opera è comparso nelle La bohème, Cavalleria rusticana, Pagliacci, oltre (Le nozze di Figaro) e di Rolando (La battaglia Michael Gielen, Leonard Slatkin, Rafael vesti di Alfredo (La traviata), Radames (Aida), a due dischi di Grande arie operistiche, e,per di Legnano). Frühbeck de Burgos, John Eliot Gardiner e ha interpretato La Bohème e Rigoletto, oltre a altre etichette, La fanciulla del West diretta da Per English National Opera ha interpretato Sir Neville Marriner. La discografia comprende vestire i panni di Turiddu (Cavalleria Leonard Slatkin, La Messa di Requiem di Verdi Zurga (The Pearl Fishers), Marcello Stabat Mater di Szymanowski, Carmina

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Burana, La vestale, The Fairy Queen, e Orazi e l’Opera di Colonia e l’Opéra-Comique di I suoi ruoli alla Metropolitan Opera di di Prokofiev con la National Symphony Curiazi di Mercadante per Opera Rara. Parigi in L’occasione fa il ladro. La traviata ha New York hanno compreso Magdalene Orchestra, e la sinfonia “Jeremiah” di un ruolo particolarmente importante nella (Die Meistersinger von Nürnberg) per la Bernstein al festival di Ravinia. È membro del Susan Patterson ha conquistato una grande carriera di Susan Patterson, che l’ha direzione di Levine, Madelon (Andrea Grand Opera Studio di Houston e in questa reputazione come soprano lirico-spinto interpretata negli Stati Uniti, e inoltre con i Chenier), Pantalis (Mefistofele di Boito), Emilia veste ha interpretato numerosi ruoli con la attraverso interpretazioni di successo nei ruoli teatri di Vancouver e Montreal, English (Otello) e Mary (Der fliegende Holländer) per la compagnia, tra cui Anne Kronenberg alla di Margherita/Elena nel Mefistofele di Boito, National Opera, Welsh National Opera e direzione di Valery Gergiev. Altre apparizioni prima mondiale di Harvey Milk, e Tisbe ne Rusalka di Dvorˇák; un nuovo allestimento di Canadian Opera Company. nei teatri americani comprendono la prima La Cenerentola con Cecilia Bartoli. Ernani con la Reisopera nei Paesi Bassi; Mme. Le interpretazioni concertistiche di Susan Norna (Götterdämmerung) con l’Opera di De Tourvel (Dangerous Liaisons) e Tosca con la Patterson comprendono Jephtha, Messiah ed Dallas, Azucena (Il trovatore) con l’Opera di Christopher Purves ha studiato inglese presso Washington Opera; Mimì (La Bohème) e Aida Elijah di Mendelssohn, il Gloria di Poulenc, lo Tulsa, Mistress Quickly (Falstaff ) con il King’s College di Cambridge prima di con l’Opera di Baltimora; e Manon Lescaut Stabat Mater di Rossini, la nona Sinfonia di l’Opera di Santa Fe e la prima mondiale di esibirsi e registrare con l’innovativo complesso allo Spoleto Festival USA. Ha esordito alla Beethoven a Lisbona ed Egmont con The Fantastic Mr. Fox di Tobias Picker per rock Harvey and the Wallbangers. Quando il Scala con Riccardo Muti nella Lodoiska di l’Orchestra sinfonica di San Francisco diretta l’Opera di Los Angeles. In Europa ha cantato gruppo si è sciolto nel 1988 ha ripreso gli Cherubini. Ha interpretato la Messa di da Kurt Masur. Inoltre ha cantato lo Stabat al Théâtre du Châtelet di Parigi, con la studi di canto con David Keren, Diane Requiem di Verdi con l’Opera di Washington Mater di Szymanowski e la sinfonia Netherlands Opera (la badessa nel Re Forlano e Janice Chapman. diretta da Placido Domingo in occasione del “Resurrezione” di Mahler con l’orchestra Ruggero di Szymanowski), Welsh National I suoi impegni operistici comprendono centenario della morte del compositore ed è Filarmonica di Los Angeles. Opera (Ulrica in Un ballo in maschera), e Figaro (Le nozze di Figaro) per la Welsh comparsa a Monte Carlo in un concerto di Per la serie Opera in English di Chandos ha English National Opera (Marfa nella National Opera, la Scottish Opera e Opera beneficenza con Luciano Pavarotti. registrato il ruolo di Elvira nell’Ernani di Verdi Kovàncina). North; Marcello (La Bohème) per la Scottish Si è esibita spesso con l’Opera di San ed Elettra in Idomeneo. Altre registrazioni Jill Grove collabora regolarmente con le Opera; Papageno (Il flauto magico), Faninal Francisco in ruoli che comprendono Angelica comprendono Le Comte Ory e Il matrimonio principali orchestre di tutto il mondo e i loro (Der Rosenkavalier) per Welsh National Opera (Orlando Furioso di Vivaldi), Anne Trulove segreto. direttori. Ha intepretato la nona Sinfonia di e Opera North; il Podestà (La gazza ladra) per (The Rake’s Progress), Constanze (Il ratto dal Beethoven con la Los Angeles Philharmonic, e la Garsington Opera; Siegfried (Genoveva) e serraglio), Fiordiligi (Così fan tutte), e Helena Jill Grove ha frequentato la Music Academy le orchestre sinfoniche di Atlanta, Houston e Dulcamara (L’elisir d’amore) per Opera North. (A Midsummer Night’s Dream). In Europa ha of the West, il New England Conservatory e Detroit. Ha cantato la Terza sinfonia di Ha creato il ruolo del Boia in Ines de Castro di cantato con l’Opera dei Paesi Bassi in la Stephen F. Austin State University. Vive Mahler al festival dello Schleswig-Holstein e James Macmillan e ha interpretato Le Comte Ory e Mitridate; è comparsa a Aix- a New York e studia con Patricia con l’Orchestra sinfonica di Houston, la Parthenogenesis di Macmillan al Festival di en-Provence nel ruolo di Constanze, e con McCaffrey. Missa Solemnis di Beethoven, Alexander Nevsky Edimburgo, dove è comparso anche nelle vesti

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di Cecil nella Maria Stuarda diretta da sir con Trevor Pinnock a Londra e Lucerna, la Inoltre ha interpretato le Messe di Haydn in Le apparizioni in concerto comprendono le Charles Mackerras. Messa di Requiem e la Messa in do minore di tournée in Svizzera con sir John Eliot Gardiner prime di diverse opere sconosciute di Haydn Gli impegni concertistici comprendono la Mozart ai festival di Swansea e York con Jane e il Monteverdi Choir, il Messiah negli USA con l’English Haydn Festival, il Requiem di Messa in do maggiore di Mozart a Aix-en- Glover e i London Mozart Players, Judas con Robert King, la Passione secondo San Brahms con la Northern Sinfonia, il Messiah Provence con i Sixteen, i Vespri del 1610 di Maccabeus e i Vespri di Mozart Matteo con Trevor Pinnock a Vienna, con l’English Chamber Orchestra in Spagna, Monteverdi con Richard Hickox, la Messa in all’inaugurazione della Symphony Hall con la Salisburgo, Parigi e in Giappone, le Cantate di Les Illuminations di Britten con l’Orchestra da re minore di Bach al festival di La Chaise-Dieu, City of Birmingham Symphony Orchestra, la Bach con Gardiner, e La Creazione di Haydn camera della radio dei Paesi Bassi e Carmina Judas Maccabeus di Handel a Norimberga e Passione secondo San Giovanni a Bonn e con Pinnock al Festival di Losanna. Burana alla Royal Festival Hall. Linda Saul con il Gabrieli Consort ai festival del Les Noces di Stravinskij a Parigi con Pierre Richardson ha interpretato il ruolo di Annie Covent Garden e di La Chaise-Dieu, Apocalypse Boulez e l’Ensemble Intercontemporain, Linda Richardson è nata nella regione inglese nell’opera televisiva When She Died di di John Tavener ai Prom con la City of London Canticum Sacrum di Stravinskij a Parigi con la del Cheshire e ha studiato presso il Royal Jonathan Dove per Channel 4, e la discografia Sinfonia, Les Mamelles de Tirésias di Poulenc BBC Symphony Orchestra, l’opera Il Northern College of Music con una borsa di comprende Hearts and Flowers, una collezione con la London Sinfonietta diretta da sir Simon prigioniero di Dallapiccola a Torino, e il studio di Peter Moores e poi presso il National di brani vittoriani da salotto. Rattle, War Requiem di Britten e la Creazione Messiah e il Te Deum di Texeira con Harry Opera Studio. di Haydn con la Ulster Orchestra, e Christophers a Hong Kong. Le numerose Come solista della English National Opera Roland Wood è nato nella contea inglese del Belshazzar’s Feast di Walton con la English trasmissioni radiofoniche comprendono la Company ha interpretato, tra l’altro, i ruoli di Berkshire e ha studiato presso il Royal Northern Sinfonia diretta da Paul Daniel e con Messa in do minore di Mozart, la Petite Messe Fiordiligi (Così fan tutte), Lauretta (Gianni Northern College of Music con Patrick la Hallé. Christopher Purves ha svolto il suo solennelle di Rossini, Winter Solstice di Schicchi), Micaëla (Carmen), Gretel (Hansel e McGuigan e Robert Alderson e primo recital all’Aldeburgh Festival nel giugno Panufnik e Canticum Sacrum di Stravinskij. Gretel ), Gilda (Rigoletto), Zerlina (Don successivamente presso il National Opera 2004. La discografia comprende il ruolo di I suoi ruoli teatrali comprendono Publio Giovanni), Sophie (Der Rosenkavalier), Mimì Studio con l’appoggio della Peter Moores protagonista nella Marriage of Figaro e (La clemenza di Tito) e Plutone (L’anima del (La Bohème), Violetta (La traviata), Woglinde Foundation e di English National Opera. Gottardo (The Thieving Magpie) per la serie filosofo) per la Royal Opera House, Covent (L’oro del Reno), Helena (A Midsummer La sua carriera iniziale di baritono basso lo Opera in English di Chandos. Garden; Melisso (Alcina) per l’Opéra de Night’s Dream) e i ruoli di protagonista in ha visto interpretare i ruoli di Silva (Ernani) e Montpellier; Immigration Officer (Flight The Fairy Queen e Alcina. Ha cantato Karolka Colline (La Bohème); Luka (The Bear) e Nato nel Lancashire, Brindley Sherratt ha Jonathan Dove) per l’Opera di de Vlaamse; (Jenu˚fa), Mimì, Nanetta (Falstaff ), Pamina Martino (L’occasione fa il ladro) per il Walton studiato tromba e canto presso la Royal Superintendent Budd (Albert Herring) per la (Die Zauberflöte) e Violetta con Opera North; Trust a Ischia; Zareckij (Eugenio Oneghin) per Academy of Music. Glyndebourne Touring Opera; Basilio Lisetta (La vera costanza) a Garsington, Norina l’Opera dell’Unione Europea. Dopo il Le sue regolari apparizioni in concerto (Il barbiere di Siviglia) e il Commendatore (Don Pasquale) per la Clonter Opera e passaggio al registro di baritono, i ruoli più comprendono la Passione secondo San Giovanni (Don Giovanni ) per la Garsington Opera. The Fairy Queen a Barcellona. recenti comprendono Josev Prasov nella prima

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mondiale di The Bridge e il Conte (Le nozze di eseguendo e registrando la nuova opera per partecipato a numerose registrazioni nelle Musicale di Opera 80 dal 1983 al 1987 e dal Figaro) al Royal Northern College of Music e video di Steve Reich dal titolo Three Tales. applaudite serie di Opera in English con il 1992 è stato Direttore Musicale fondatore Opera Holland Park. Le sue interpretazioni comprendono patrocinio della Peter Moores Foundation. dell’Opera di Almeida. Roland Wood ha sostituito diversi ruoli Die Fledermaus presso la Grand Opera House Lavora copiosamente in opere e concerti, a anche per la Glyndebourne Festival Opera e la di Dublino, Normanno (Lucia di La London Philharmonic Orchestra è da livello nazionale ed internazionale. Ha diretto English National Opera; per quest’ultimo Lammermoor) con Opera Holland Park, tempo apprezzata per la sua versatilità e diverse produzioni presso la English National teatro ha esordito nelle vesti del Barone Gawain nella prima di Gawain and the Green l’altissima levatura artistica. Queste qualità Opera e la Opera North e appare regolarmente (La traviata). È solista della Scottish Opera, Knight, un’opera di Lynne Plowman con sono evidenti nelle sale da concerto e nei con la Philharmonia Orchestra e la London per cui ha interpretato, tra l’altro, il Dr Falke Music Theatre Wales, e Tamino (The Little teatri, nella ricca discografia pluripremiata, Philharmonic Orchestra. Nel 1996 ha (Die Fledermaus), Marullo (Rigoletto) e Magic Flute) con Opera North. La discografia nelle brillanti tournée internazionali e nelle debuttato con Così fan tutte al Glyndebourne Papageno (Die Zauberflöte). include Contrabandista e L’Esule di Granata per iniziative avanzate svolte nel settore Festival, dove nel 1998 ha diretto la prima Opera Rara. dell’istruzione. Kurt Masur è Direttore stabile mondiale di Flight di Jonathan Dove. Ashley Catling ha studiato presso la Guildhall dell’orchestra dal settembre del 2000. Tra i È un frequente visitatore della Spagna dove School of Music and Drama con William La carriera di cantante di Geoffrey Mitchell suoi predecessori dal 1932, anno in cui sir si è esibito in concerto con la maggior parte McAlpine e presso il National Opera Studio racchiude un repertorio notevole che spazia Thomas Beecham fondava l’orchestra, vanno delle maggiori orchestre spagnole. Ha diretto con l’appoggio dei Friends of Covent Garden e dalla musica antica a quella contemporanea e ricordati sir Adrian Boult, sir John Pritchard, la prima spagnola di Peter Grimes a Madrid e una borsa di studio Nelly Groner. I suoi ruoli che l’ha portato in Scandinavia, Germania, Bernard Haitink, sir Georg Solti, Klaus nel 1996 la prima produzione spagnola di operistici finora comprendono Ferrando nella ex Cecoslovacchia, in Canada e Tennstedt e Franz Welser-Möst. Dal 1992 la The Rake’s Progress. È apparso in Germania, (Così fan tutte), Nemorino (L’elisir d’amore), Australasia. L’esperienza di direzione degli inizi London Philharmonic è l’orchestra residente Svizzera, Paesi Bassi, al Festival di Pesaro in Ernesto (Don Pasquale), Fenton (Falstaff ) e con la BBC lo ha condotto ad un maggiore della Royal Festival Hall. Inoltre è l’orchestra Italia, al Festival Internazionale di Hong Kong, Male Chorus (The Rape of Lucretia). coinvolgimento con i suoi stessi cantanti e sinfonica residente della Glyndebourne Festival in Giappone con una tournée della Carmen e È comparso in concerto alla Barbican inoltre alla creazione del Geoffrey Mitchell Opera da 38 anni. in Messico con la UNAM Symphony Concert Hall, presso le Royal Glasgow Choir. Le prime registrazioni sono sfociate nel Orchestra. Recenti nuove produzioni da lui Concert Halls, alla Queen Elizabeth Hall, a coinvolgimento a lungo termine del Coro con David Parry ha studiato con Sergiu Celibidache dirette comprendono il Fidelio al Festival della St John’s Smith Square e St Martin in the Opera Rara, per la quale ha inciso più di ed ha cominciato la sua carriera come assistente Nuova Zelanda, Lucia di Lammermoor alla Fields dove ha interpretato, tra l’altro, la trenta registrazioni. Il Coro gode di una fama di Sir John Pritchard. Ha debuttato all’English New Israeli Opera e Don Giovanni alla Passione secondo San Matteo, un recital di brani sempre maggiore con ulteriore lavoro dalla Music Theatre, quindi è diventato direttore Staatsoper di Hannover. di Britten per voce e arpa a Aldeburgh, e ha BBC e da case discografiche internazionali. Per d’orchestra presso la Städtische Bühnen di Il suo lavoro in studio di registrazione svolto tournée in Europa e negli USA la Chandos il Geoffrey Mitchell Choir ha Dortmund e la Opera North. È stato Direttore comprende la produzione della BBC di

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Der Vampyr di Marschner nonché ventotto Yvonne Kenny, John Tomlinson, Della Jones e registrazioni operistiche complete con il Andrew Shore), nonché The Marriage of On session:

patrocinio della Peter Moores Foundation. Figaro, Idomeneo, Carmen, The Thieving Dennis O’Neill Cooper Bill Tra questi vi sono numerosi dischi per Magpie, Don Giovanni, Don Pasquale, l’etichetta Opera Rara che hanno vinti The Elixir of Love, Lucia of Lammermoor, parecchi premi, tra cui il belga Prix Cecilia per Ernani, Il trovatore, Aida, Faust, Cavalleria la Rosmonda d’Inghilterra di Donizetti. Per rusticana, Pagliacci, La bohème, Turandot, Tosca Chandos ha diretto una serie di registrazioni di (vincitrice di un premio) e brani scelti da arie d’opera (con Bruce Ford, Diana Der Rosenkavalier, tutte in collaborazione con Montague, Dennis O’Neill, Alastair Miles, la Peter Moores Foundation.

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On session: On session:

Anthony Michaels-Moore Cooper Bill Susan Patterson Cooper Bill

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On session:

Jill Grove Cooper Bill Cooper Bill

On session: Linda Richardson

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On session: On session:

Christopher Purves Cooper Bill Brindley Sherratt Cooper Bill

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COMPACT DISC ONE shall give careful thought to each entreaty, those Oscar, Officers and Gentlemen Gustavus deserving, I’ll answer. His generous affection All this adulation won’t cure my heart. A secret 1 Prelude Power has no charm for me unless it lightens the has almost overwhelmed him; source of worry torments me. Act I suffering of my people and defies the forces bent our wishes and objections Anckarstroem Scene 1 on corruption. are causing him dismay. What is it? A room in the King’s palace. At the back, the doors It is our wishes and our objections Oscar (to Gustavus) into his rooms. It is morning. Deputies, Gentlemen, that are the cause of his dismay. Gustavus Would you like to see the list of your invitations? Members of the populace, Officers, Counts, Ribbing Gustavus Ah no, don’t ask… and Horn and their followers, are waiting for the Gustavus And every word she utters will speak of love. King. Anckarstroem Have you included all the lovely ladies? Each word she utters will speak of love. I think I know what it is. Introduction Scena e cantabile Oscar (giving him the paper) Gustavus (aside) Here, you can read it. Officers and Gentlemen Gustavus (to Oscar) He cannot… 2 Rest Gustavus, may sweet dreams restore you 5 Go with the others and wait until I call you. Gustavus (reading to himself ) Anckarstroem in this house where you rule as our Lord; Amelia… to see that name! Ah that name! rest protected by those who adore you, (They all leave. Oscar, who is last, meets I’ll tell you… Each time I think of her I lose all sense of power Anckarstroem at the door.) in the embrace of your bountiful world. and duty. Gustavus 4 Oscar (to Anckarstroem) Ribbing, Horn and Henchmen There I shall gaze in ecstasy Go on… upon that radiant vision, Now he is free for you. Sleep surrounded by furious loathing, Anckarstroem and every word she utters will speak of love, Anckarstroem (aside) haunted by victims of your cruel hate; I’ll tell you... Within this royal palace you though you wish it, they are not forgotten, will speak of passion. Why does he seem so sad? Oh stars above descend to us and light our cannot sleep in safety. we will have our revenge for their fate Gustavus (aside) celebration, ah… we remember their fate. Amelia! Gustavus she is the brightest star that shines here in my Continue. Oscar heart, Anckarstroem 3 The King approaches. she is my heaven. Highness! Anckarstroem Gustavus (aside) Some evil assassins are plotting in the shadows, Gustavus (greeting the waiting people) Ribbing, Horn and their followers (softly) your life itself is threatened. My loyal subjects and soldiers… I value each and We cannot stay, oh no, we cannot stay Oh God! Here is her husband! every one… come, show me: I’ll read all your because the time is not ripe to strike him; Anckarstroem (approaching) Gustavus (joyfully) petitions. these men appear to like him My Lord you seem upset, while all around you That’s what you came to tell me? And nothing Petitions, they all shall be considered: I promise I so we should slip away. the people praise your name and applaud you. more?

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Anckarstroem Lord Chief Justice (giving him dispatches to sign) Oscar Anckarstroem I have their names to show you. Highness! All those who visit her return delighted, But who you really are might be discovered. saying how wise she is and how far-sighted; Gustavus Gustavus sailors and soldiers, young ones and older, Gustavus Why bother? I shall forget them. What is this? A woman to be banished! What know, for the future, what they must fear; How scary! happened? Who is this woman? Is she guilty? they say the devil has her ear! Anckarstroem Ribbing and Horn They say the devil has the witch’s ear! You have to be informed. Lord Chief Justice His right hand man is wary, he’s such a cautious Gustavus Her name’s Ulrike and I hear that she is a gypsy. Lord Chief Justice one. Silence: I cannot defile my honour with their She must be banished. Oscar Gustavus blood. No never. I won’t. The world respects me, Oscar my people love me and God himself protects me. She has a massive following, everyone knows her. Disguise me as a fisherman, find me the clothes. And they say that she sees into the future… You have no case against her. Anckarstroem Lord Chief Justice Ribbing and Horn 6 Please reflect upon your duty Lord Chief Justice Have her banished. And if we go along maybe the path to vengeance and the hopes of this glorious nation; To a dark, gloomy cave she summons the rabble, will appear. here the people in their thousands I insist that her influence must be malign. I wish Gustavus Gustavus look to you for inspiration! to see her banished, I stand by my decision. Come now… bring in the people: I have a good 10 We can all go and see her together If we lose you, what will happen idea. Gustavus (to Oscar) and abandon ourselves to the pleasure; in the years that lie ahead? (Anckarstroem and Oscar call back those who had Is this the truth? if we hide in the crowd of believers, Will your life be free forever left.) 9 My friends will you come with me to visit the just imagine the sights we will see. from the work of cruel assassins, Oscar can the love of friend or stranger enchantress, My Lord I must defend her. disguised so no one knows us? I want to go. Anckarstroem always shelter you from danger? 8 She conjures from afar, thunder and lightening, Go and see her, but I am suspicious Love is weak compared to hatred, however brave you are, it can be frightening. Anckarstroem of the dangers that may be around you; which may quickly strike its victim dead. For all believers, she weaves her magic, Why so? Why so? he is kind but he can be capricious If we lose you, what will happen cheerful or tragic, they want to hear; Gustavus and ignores every warning from me. in the years that lie ahead? they say the devil has her ear! Ah! Her story is intriguing. Oscar Oscar (entering) They say the devil has the witch’s ear! Anckarstroem I can ask her the questions the ladies 7 The Lord Chief Justice! Gustavus It’s not a wise decision. say she always is able to answer; Gustavus A pretty couple they must appear! Oscar whether destined for heaven or Hades, Admit him. Satan and seer! I’ll join the expedition, I think it will be fun! I’ll find out what the future will be.

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Gustavus Chorus Three times the owl has hooted Ulrike (from below) My friends I am expecting you And at last I can joke and be foolish with calls that fill the sky; Be silent! at three o’clock, in disguise, in the sweet life that heaven gave me. the salamander’s flaming mouth (Cristian breaks through the crowd.) to kneel before an oracle Gustavus three times has hissed its cry; so splendid and so wise. My friends I am expecting you and rotting corpses from the graves Cristian three times have made reply. 13 Allow me to enter, I must know my fortune. Oscar and Chorus at three o’clock, in disguise. I worked for Gustavus for years as a sailor; Oh yes, we shall be ready there (Gustavus, dressed as a fisherman, pushes through Others for him I have risked life and limb on the ocean, at three o’clock, in disguise; the crowd. He cannot see any of his court.) Oh yes we shall be ready there I’ve suffered and struggled without a promotion; to kneel before an oracle at three o’clock, in disguise; Gustavus and all through the years he did nothing for me. so splendid and so wise. to kneel before an oracle 12 I’m first to be here! Ulrike (reappearing) Ribbing, Horn and Henchmen so splendid and so wise. Women and Children Your question? We must all be alert to the chances Intruder, no entry. that this curious adventure advances; Scene 2 Cristian (He moves back, smiling.) and perhaps if the stars are against him The fortune-teller’s cave. To the left is a hearth; the Will I be rewarded for all I have suffered? There is a luminous glow in the darkness. we can send him to hell and be free. fire is burning and the cauldron smokes on a tripod; Gustavus (aside) on the same side is an opening to a dark recess. On Ulrike (exultantly) Gustavus He sounds like a plausible fellow. the right is a staircase which turns and disappears out At last! At last! We can all go and see her together of sight. At its foot is a secret door. At the back is the What ecstasy! Satan has come, has found me; Ulrike and abandon ourselves to the pleasure; main entrance door with windows at the side. In the I feel the power of his embrace Your hand. for today let us laugh and be merry middle is a rough table, where Ulrike sits, and a boy and his bright aura around me! while this life is as good as can be. Cristian and girl are having their fortunes told. The blazing torch of knowledge this life was never dearer to me. Please read it. Invocation is burning in his hand. Chorus He answered to my entreaty, Ulrike (looking at his hand ) Yes! Yes! Women and Children he came at my command. 14 You can rest assured: 11 Quiet… her trance must not be interrupted… Nothing eludes me, nothing can hide from me, promotion is yours with a handsome reward. Oscar She will summon the devil, then he will answer! nothing escapes me, I shall know if my stars are propitious (Gustavus draws out a roll of money and writes on it.) Ulrike nothing can hide from my all-seeing eyes. and the future they promise for me. Lord, from the deepest underworld, Cristian (She strikes the ground and disappears.) You mock me? Ribbing, Horn and Henchmen arise and climb the ether, …and perhaps if the stars are against him Sparing your bolts of thunder appear Women and Children Ulrike we can send him to hell and be free. and enter my dwelling. Oh, she is amazing! I promise.

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Gustavus (aside, slipping the roll into Cristian’s Ulrike Gustavus (aside) Gustavus (aside) pocket) These people shall leave; I will see her. She loves me! Can I believe it? Oh my poor love! I’ll make his dream come true. Gustavus (aside) Ulrike Ulrike Cristian I stay You shall forget him. I know a secret potion Are you afraid? brewed from a magic herb, that can renew the I’m grateful for such a prediction from you. Ulrike (turning to the others) Amelia heart. Whoever needs it must go and pluck the (Searching his pocket he finds the roll of notes and I cannot make reply to you all unless I commune I shudder… reads excitedly.) undisturbed here with Satan. Now leave me, now leaves themselves, and on the stroke of ‘Gustavus makes his dear friend Cristian a captain.’ leave me to search for the truth. midnight… in dreadful surroundings. Ulrike God save us! It is true! Both money and Have you the courage? Women and Children Amelia promotion! We leave you, we leave you to search for the truth. But where? Amelia Because this is my duty, I shall find strength to Cristian and Women We go. Ulrike do it. Amazing! Amazing! Ulrike You dare to go there? All praise and long life to the immortal Now leave me. Ulrike enchantress, Amelia (resolutely) At midnight? the bringer of fortune and riches to all! (While they all leave, Gustavus hides.) Yes, I am determined. (There is a knocking at the small door.) Amelia Ulrike Who’s knocking? Scene and Trio Yes. Then you must listen. Ulrike 16 Step out towards the sunset to seek your dark Gustavus (aside) (Ulrike opens the door and a servant enters.) 15 What brings you here to me? solution, I’ll follow, you shall not go alone. Gustavus (aside) Amelia go where the moonlight bleakly falls on scenes of Amelia Oh heavens! That man in the doorway, he works A secret source of worry that passion brought. retribution; 17 for Amelia! at night no wise man goes there, Oh, help me, God in heaven Gustavus (aside) but this elixir grows there, to drive this passion from me; Servant (whispering to Ulrike but overheard by A passion! where guilty men atone for crimes and cool the burning agony Gustavus) Ulrike with slow and painful death. that rages here in my heart. Please listen, I’m here for the lady who’s waiting How can I help you? Grant me, oh dear Lord, outside here, she wants to consult you in private Amelia the strength to cure my heart. and ask your advice. Amelia My God! How dreadful! Tell me… how can I erase from my heart the Ulrike Gustavus (aside) man whose fatal charm now rules me! He who Ulrike Be not afraid, your sorrow Amelia! is the anointed sovereign of this country. You look so pale, perhaps you cannot face it? will be gone by tomorrow.

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Go, when you taste the remedy, Scene and Song Gustavus Gustavus (offering his hand to Ulrike) the yearning will depart. I fly with my boat through the wind and the Let me have the honour. Ribbing, Horn and Men’s Chorus weather, Gustavus (aside) 18 Rise, great enchantress, speak to us all; Oscar we struggle and suffer the danger together; I am resolved to follow tell us the future, come when we call. Then so be it. my ears always ringing with songs I love singing. wherever you may lead me; Oscar I sing the old songs that we sang when I met you, Ulrike (examining his hand, solemnly) for when you sigh Amelia, Where is the King? your kisses, your laughter, I never forget you I can see you are respected, with Mars the god of your breath sustains my heart. nor all of those beautiful things you have said. war in your birth sign. Gustavus (to Oscar) Voices (from outside) Now tell me what destiny may have in store Don’t tell them I am here, keep it a secret. Oscar Daughter of Satan, open your portals, and say when the grim reaper will come by and (to Ulrike) She knows him already! you are ignoring us lesser mortals. call Now wise enchantress, I was the first here, for no fear and no terror will enter my head; Gustavus Ulrike (to Amelia) look at my stars and tell me the worst. no, no, no, no, no fear and no terror will enter Be quiet. Quickly, now leave me. Ribbing, Horn and Men’s Chorus my head. Ulrike (disengaging herself from him) Amelia Tell him his fortune. Oscar and Chorus You are unlucky… go, and leave me… don’t ask At midnight… Gustavus No fear and no terror will enter his head. me for more. Ulrike 19 Do you see the furious billows abating Gustavus Now leave me… and will my beloved be faithfully waiting? Ulrike 20 Come, continue. She wept when we parted, Reckless stranger, your words are defiant, Gustavus (aside) so sweet and kind hearted. but they may yet dissolve into sorrow. Ulrike I’ll follow. When tossed by the tempest my vessel is battered, If you are false to the forces of darkness, No. Leave at once. neither tears nor regrets will suffice, Ulrike I stay on my course though my spirit is shattered, and a man who would challenge the devil Gustavus Go quickly. Quickly now leave me. defying the rage/anger descending on me. Tell me. Confer with your devils in lightning and thunder must atone at a terrible price. Amelia and though what you find is the ship going under, I leave you! Gustavus Ulrike no horror will stop me from sailing the sea; Come on, my friends. Go. Gustavus (aside) no, no, no, no, no horror will stop me sailing You shall not go alone! the sea. Ribbing Gustavus But who will be first? Tell me. (Ulrike opens the main door. Ribbing, Horn and Oscar and Chorus their followers, Oscar, gentlemen and Officers enter, And though what you find is the ship going under, Oscar Ulrike all curiously disguised. Gustavus mixes with them.) no horror will stop him sailing the sea. I shall! I beseech you.

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Oscar and Chorus and since you dare not laugh at me, Gustavus (lively) Ulrike You must finish the tale! what thoughts are in your head? An easy one! Me? (offering his hand to those around him, who do not Gustavus Ribbing and Horn (staring at Ulrike) Gustavus (throwing her a purse) wish to take it) I command you! Her words are sharp as lances, Keep quiet, here’s money. luminous her glances. Which one of you will offer to Ulrike Ulrike So if the devil talks to her, prove that this is nonsense? Such cowards! However kind you are, there is a traitor in this All right, soon you shall die. there may be truth in what she said, (Anckarstroem appears at the entrance. Gustavus rushes to him and clasps his hand.) crowd: there may be several… Gustavus there’s truth in what she said. Here he is. Ribbing and Horn (aside) For an honourable death, I’ll be grateful. Oscar God help us! Ulrike (with more emotion) Ah! Our master so ill-fated Oscar and Chorus No, a friend will betray you. to fall assassinated? Count Anckarstroem! Gustavus Ah, when I start to think of that Enough. Oscar Ribbing and Horn (aside) I fear what lies ahead, Cristian and Chorus Great heaven! Thank heaven, the Fates are on our side. I fear and tremble, Long live Gustavus! Chorus ah when I think, Oscar and Chorus (to Ulrike) Others Dreadful fate! when I start thinking. The oracle was lying. Who’s shouting? Chorus Ulrike Is he so ill-fated Cristian and Chorus It is written in truth. Gustavus to fall assassinated? Yes: the man who comes to greet me is my most Praise him! Chorus Ah, when I start to think of that faithful friend and colleague. Cristian (to his followers) Dreadful fate! I fear what lies ahead, He’s here, come gather quickly, I fear and tremble, Anckarstroem Gustavus (glancing all around him) he’s here, our noble friend and father. ah when I think, Gustavus! 21 Her crazy crystal-gazing (They all enter.) when I start thinking, is utterly amazing! Greet him with me Oh dread! Ulrike (recognising the King) and bow your heads before him; I cannot help but laugh at them The King! because they are misled, Gustavus let us raise our voices 22 One thing you’ve yet to tell me. Speak, who will so easily misled. Gustavus (to Ulrike) in a hymn of praise. strike the fatal blow? Ulrike (passing by Ribbing and Horn) So your devil could neither tell you who I might Cristian and Chorus I see you men are dwelling Ulrike be, nor that the judge insisted you should be Hail to our gracious sovereign on what I am foretelling, The first man to shake you by the hand today. banished. loved by this noble nation;

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long may good fortune smile on you, Act II Ah! What is that? Gustavus I must leave you? No, no never: long may you rule us, glorious and free. Prelude, Scene and Aria A skull on the pathway, hovering and sighing! No I cannot, for I am burning Oscar 23 [Prelude] Ah, it is staring with a furious anger with an everlasting yearning. Your people all reward you, Amelia appears at the top of the hill. During the and it mocks me, it mocks with a terrible glare! Amelia lovingly they applaud you; Prelude she kneels and prays. Then she rises, and Ah! Highness, be kind and pity me. to hear this joyful praise I know gradually comes down the hill. It is mocking, it is mocking with a terrible glare! how happy you must be. Amelia (She falls to her knees.) Gustavus Gustavus 24 Here I am in this place of retribution where the Give me courage and strength, oh dear Lord! Why these words when I adore you? Can I admit suspicion guilty must perish! Over there is the gallows… Oh, have mercy on me evermore. Listen calmly I implore you. Both your honour and your name in my august position, there is the plant, how green it grows... Now (Gustavus appears unexpectedly.) when people in their thousands know onward. Ah! My poor heart is frozen! Even the will never suffer any shame. they’d gladly die for me? sounds beneath my feet fill me with terror and Duet Amelia have me shuddering in horror! And what if I Gustavus But Gustavus I belong… Anckarstroem should die here? Well then!… If it has 26 Here at last. to your closest friend and colleague... Always the shouts of glory been decided that here I meet my fate… then hide quite a different story; take me. So be it! Amelia Gustavus they may conceal a hypocrite (She begins to move again.) Oh God! Hush Amelia… planning some evil deed. 25 When I pluck these dark stems from the dry land, Gustavus Amelia have their magical power in my hand, Ribbing, Horn and Henchmen Be calm… I am the wife of the man who would die, We never will get near him. when oblivion erases my sorrow and die gladly for you... and that image will fade from my mind: Amelia while all these idiots cheer him, Gustavus what is left you when love is no more? Ah!… praising their hero mindlessly, Ah so cruel, still reminding me, Ah! Who is weeping, what power restrains me? they are innocent and naïve. Gustavus yes I know that this is true. What is waiting upon this grim pathway? And praise him mindlessly, Are you frightened? they are innocent and naive. Be courageous, oh my heart be of granite, Gustavus don’t betray me by yielding to tears, Amelia 27 You must know that I too have been aching Ulrike or else silence your beating and die, Ah! A disaster… with remorse that torments all my being, He would not listen further, fade to nothing, fade to nothing, You must go… I am… a victim… but how can I attend to its pleading though I foresee his murder; my poor heart, I cry. and you know you must save my honour… while I long for the one I adore? he laughed at my prediction (Midnight strikes.) or the shame, remorse and horror You would only sleep on without waking but his fate already is sealed. It is midnight!… will destroy me and break my heart. if your own heart were beating no more.

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Every night has me raging and burning Gustavus Amelia I heard one call out to another: in the anguish that always is with me; My Amelia! I love you. ‘I see him, we’ve caught him: and I constantly ask God to give me in flagrante with some unknown lady:’ Amelia (After the reprise of the duet, the moonlight grows that same pity you’re longing for too. another then whispered: ‘a fleeting liaison! But I know that you will protect me brighter.) My dagger will end all their tender embraces, But I never could think of returning from my heart! to a life on this earth without you. too late to regret it, he’s dug his own grave’. Gustavus (ecstatically) Scene and trio Amelia You love me, you love me! Amelia Amelia (aside) God! Bring me comfort and help him believe me, There is no longer any place for my remorse 29 Oh God! Someone is here! I’m dying. as I stand between death and damnation; or for my friendship: will you open the door to salvation? let all things vanish, let all things vanish Gustavus Gustavus (to Amelia) Guide my faltering steps, let me through. away except my love. Who could it be in the shadow of the gallows? Have courage! (to Gustavus) 28 Ah! I can see him… your husband! The sweetest words I ever heard Anckarstroem You must go: I won’t listen; are those that you have spoken; Amelia But Sir take my cloak, be careful, oh, leave me, oh, leave me, ah! a passion has awoken My husband! the pathway to freedom is there. I belong to the man who would perish for you. within your sparkling eyes. My star that shines in darkness Gustavus Gustavus (taking Amelia by the hand ) Gustavus You here? You, my life, my star, my heaven, and needs no brightness from above, I must take you with me! you my heaven, will you tell me… oh, bathe me in your love, Anckarstroem the sun shall never rise! Amelia (to Gustavus) I must warn you that you are surrounded by Impossible! Go! Amelia Amelia men who would kill you. Ah, have mercy! Anckarstroem (moving to Amelia) Upon the bed where sadly Gustavus They saw you, my lady, but he may avoid them Gustavus I dreamt I was forgetting you; Who are they? Say you love me… my love returns more madly, by leaving without you. more dazzling in surprise. Anckarstroem Amelia They are traitors. (Anckarstroem goes to the back to see if anyone is Ah, Gustavus! Ah, why am I not sighing approaching.) and pouring forth my agony? Amelia (aside) Gustavus Be with me as I die, Oh God! Amelia (to Gustavus) Only say it, only say it… eternal sleep shall be my prize. You must go alone! Anckarstroem Amelia Gustavus I ran past, concealed in the darkness, Gustavus Ah, yes… I… love you… Amelia! You love me, Amelia? You love me? they will have assumed I am one of their comrades. And leave you abandoned?

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Amelia Gustavus (indicating Amelia) do not martyr yourself in this way, go, go, go, Amelia The way will be clear if you hurry, go quickly... Then promise me, swear not to look at her face don’t martyr yourself this way, go, go, go, Here they are. or ask for her name… Gustavus (aside) Anckarstroem Gustavus in silence escort her away from this place. If I leave you here, what can you tell him? Can I think of the traitors and murderers Quickly. Hold on tight to my arm. who are threatening to come here and kill me? What can you tell him? No, no, I’d rather be dead. Anckarstroem Amelia I promise. No! For I am the one who is guilty Amelia and my friend is the one who’s betrayed. I fear I’m dying! Go now, or I tear off the veil on my head. Gustavus Were I innocent I would attack, Ribbing (to Horn) When you safely arrive at the city, take different but because of my love I am fleeing. Gustavus Do you see the snow-white veil pathways. In the grace of your mercy, oh Lord that conceals his latest conquest? You would not… look upon her, protect her I pray. Anckarstroem Horn Amelia May the grace of our merciful Lord I promise … I obey. Paradise will soon become the inferno. I promise. be upon her, protect her I pray, etc. Amelia (to Gustavus) Amelia and Anckarstroem Anckarstroem Gustavus 31 Do you hear how the menacing voices Go quickly... Who goes there? You must not. echo murderous threats all around you? (Gustavus leaves.) Ribbing From the rocks over there where they’re hiding, Amelia Not Gustavus! men will strike with no further delay. Then go. Scene, chorus and quartet: second finale (Gustavus hesitates, but she repeats the command They are raging with furious anger, Horn Anckarstroem with her hand. Anckarstroem returns and Gustavus you will soon be completely surrounded How did we lose him? 32 Stay close to me. goes towards him.) and their wrath will be falling upon you, Conspirators (aside) quickly go and escape, go, go, go! Amelia (aside) Not Gustavus! If trying to save him has not been in vain, Oh heavens! Anckarstroem (emerging from the back where he Anckarstroem if all this has not been in vain, has been looking around) Anckarstroem No, the man who stands to challenge you is me. I never shall fear any danger again. You must flee, you must flee, on the path I hear Why be so frightened? You are safe here with me. the steps coming steadily nearer; I am a friend and you have no need to fear. Horn (mocking) Gustavus (to Anckarstroem, solemnly) His accomplice! 30 My friend, I ask you a personal favour; and the daggers are all at the ready Conspirators (in the distance) will you undertake such a mission for me? for the order that they will obey. His last moment is upon him, Ribbing Quickly go while the path is still open, as we strike without a warning. We have been much less fortunate than you are: Anckarstroem here you cannot remain for a moment; In the sun tomorrow morning, we have waited all in vain to see a woman in this You know you can trust me. you must live for the sake of your people, what a pretty sight he’ll be. place.

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Horn Anckarstroem (thunderstruck) In whom Amelia, can you confide? We should go, by different pathways, Won’t you let us share your pleasure and reveal What!… Amelia!… Who can you turn to in desperation? I take one and you another. the lady’s face! What hand in kindness will dry your eyes? In the morning we’ll discover Horn, Ribbing and Conspirators Where can you hide, wretched Amelia? what great things will come to pass. (Some of the conspirators return with burning His… wife… Amelia! There will be chatter about this matter, torches.) Ribbing, Horn and Conspirators Amelia what a curious little farce. Ah! Ah! Ah! Ah! Ah! Ah! Anckarstroem (with his hand on his sword ) Oh God! Forgive! Let’s go. There will be chatter about this matter, Go no further: if you move I draw my dagger. Horn, Ribbing and Conspirators what a curious little farce! Conspirators Ribbing Amelia! We know her! See how a tragedy became a comedy. Let’s go. Would you fight us? Anckarstroem (trembling) Anckarstroem (approaching Ribbing and Horn Ribbing,Horn and Conspirators Horn Amelia!… and in a determined voice) Ah! Ah! Ah! Ah! Ah! Ah! Ah! Ah! Ah! I’m not frightened. Will you come and have a meeting Anckarstroem (left alone with Amelia, he speaks, Ribbing at my house tomorrow morning? (The moon shines in all its glory.) 33 We interrupt their stolen kisses, trembling) the rampant lover pursues his missus; Ribbing I have promised to escort you to the gates and Amelia and how romantic, sharing at midnight, Must we beg you to forgive us? leave you there. Oh, heaven help me! a second honeymoon beneath the stars. Anckarstroem Amelia (aside) Conspirators Ribbing and Horn No, I’ve something else in mind. How the fury in his voice has made me tremble Drop the dagger… Ah! Ah! Ah! Ah! Ah! Ah! in despair. Ribbing There will be chatter about this matter, Anckarstroem Then what is it? Anckarstroem what a curious little farce! You are traitors! Let’s go! Anckarstroem Anckarstroem (gazing at the path by which Horn (going to tear the veil from Amelia) I will tell you when you’re with me. Amelia Gustavus left) Then who is she? Be kind, I imlore! So he rewards me for his salvation, Ribbing and Horn Anckarstroem (unsheathing his sword) my marriage ruined in violation! We shall be there. Anckarstroem If you insult her you will answer with your life. From now I cannot again confront him, (as they leave, with their followers) Let’s go! (As they all lunge towards Anckarstroem, Amelia, I am destroyed for evermore. beside herself and trembling, lets slip her veil.) He has destroyed me for evermore. Amelia Amelia No: don’t fight with him… From this disaster, where can you hide?

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COMPACT DISC TWO Anckarstroem Amelia (kneeling) 4 Shame on you, who defiled my beloved, No excuses! I have one request to make. Hear me. Hear me. you destroyed all I loved, all I lived for. Act III Quietly, it shall be my last. Amelia You were trusted, but one moment of treachery, Scene 1 2 I go, but in compassion, That’s enough for you to kill me? and the world has been poisoned for me. A study in Anckarstroem’s house. Two bronze vases first will you grant me one favour, Take my wife! Is that how you reward me stand on small fireplace at the side; opposite is a Anckarstroem let me embrace my child, for the trust and the friendship I gave? bookcase. At the back there is a magnificent full- You shall die. bid him farewell forever. So all pleasure becomes distant memory length portrait of Gustavus and, in the middle of And if you must deny me, of embraces that tasted of heaven! Amelia the stage, there is a table. Enter Anckarstroem and your poor unhappy wife, When Amelia, so chaste and so beautiful, There’s no justice or compassion Amelia. do not refuse a mother lay beside me and trembled with love. in your cruel insulting heart? who must lay down her life. Scene and Aria It is finished: and only the hatred, Anckarstroem I know that in my suffering, and only the murderous hatred Anckarstroem (putting down his sword and Blood will flow and you shall die. his kisses will console me, remains in my poor widowed heart. closing the door) and at the final moment, All the pleasure lost forever, Amelia 1 Your offence is not forgiven, let him be there to hold me; oh, the promise of love. That I loved him may be true, Then as his father strikes me, nothing ever can excuse you; (Ribbing and Horn enter, greeting Anckarstroem but my loyalty is to you. he will extend his hand all in vain you pray and cry, coldly.) blood will flow and you shall die. Anckarstroem (picking up his sword again) to close his mother’s eyelids, I won’t listen. in a final farewell, in a last farewell. Conspiracy, duet, quartet Amelia Anckarstroem (gesturing towards a door, without Anckarstroem You condemn me upon suspicion, Amelia looking up) 5 We are gathered. Now hear me. All of the plans of what crime do you accuse me? God above knows I admit it, 3 Stand up! I permit you to see your son and say you’ve made are uncovered. You have been but no sin has been committed. Anckarstroem farewell. plotting to murder Gustavus. Of adultery! Anckarstroem Within the silent darkness, there you may Horn I won’t listen! I won’t listen! It’s too late…. conceal your shame and my dishonour. You are dreaming! Amelia I’m determined, I resolve that you shall die. (Amelia leaves.) God save me! Not on my wife, nor on that loving mother, do I Anckarstroem (showing them some papers on the Amelia seek for vengeance. But the blood of another table) Anckarstroem Ah! I’m fainting!… So be it, let me… will wash away this great insult… your blood These papers prove it. You should look to God for mercy. beg one favour…. Gustavus! Ribbing Amelia Anckarstroem And as I twist my dagger in that perfidious body, And have you decided to take them straight to You condemn me on suspicion? Not from me. Say your prayers to God in heaven. all the pain I have suffered shall be avenged! him?

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Anckarstroem Anckarstroem (He takes a vase from the fireplace and places it on Amelia (aside) No: I want to join with you. 7 Let us all by our shame be united the table. Ribbing writes three names on pieces of There is no doubt. It is clear he is forcing me to and the thought of one mind be of all, of all. paper, and throws them into it.) be an accomplice to murder. Ribbing and Horn And remember our lives have been blighted You are joking. Anckarstroem (Shuddering, Amelia slowly approaches the table by the man on whom vengeance will fall. Who is there? where the vase has been placed. Anckarstroem Anckarstroem (Amelia enters.) watches her all the time with eyes blazing. Finally, On one condition, you have to trust me and Ribbing and Horn You! Amelia, with trembling hand, takes out one of the forget your suspicion. I am with you, without Let us all by our shame be united pieces of paper, which her husband then hands to hesitation I shall be your accomplice in murder: and the thought of one mind be of all, of all. Amelia Ribbing.) take my son as your hostage. You may kill him if And remember our lives have been blighted Oscar has arrived with tonight’s invitation. I fail you. by the man on whom vengeance will fall. Anckarstroem Anckarstroem 9 So which name has been chosen? Ribbing Anckarstroem Tonight! Let him wait then. I insist that you stay, This change of heart is sudden, I’m not sure that 8 One indulgence I ask of you. since you too play a part in this drama. Ribbing I believe you. Anckarstroem! Ribbing Amelia (aside) Anckarstroem What is it? Ah, with sorrow my heart is exploding! Anckarstroem (with exaltation) Don’t ask me to give you the reason. Ah, what terror, what fear and foreboding! I am chosen! Oh, kind fortune I thank you: 6 I’m with you, I’m with you, let the life of my Anckarstroem now the pleasure of vengeance is mine. Anckarstroem (indicating his wife to Ribbing and only son convince you. You allow me to accomplish the deed. Amelia (aside) Horn) It’s Gustavus they’re planning to murder, Ribbing Ribbing Have no fear. She knows nothing, perhaps her their barbarity can go no further! He’s not lying. No, your Lordship, he snatched my possessions, arrival shall be our advantage. They are raging in terrible anger so the task falls to me and no other. (to Amelia) Horn and the daggers are ready to strike. In this urn there are three names. No, he means it. Horn Your impartial hand must help Amelia (aside) As for me, since he murdered my brother, Anckarstroem us to choose one. Ah, Gustavus, they are planning your murder, through the dark years of suffering, Still uncertain? the daggers are ready to strike. revenge on him has been my one obsession; Amelia (trembling) Ribbing and Horn what role will you give me? Tell me why. Anckarstroem, Ribbing and Horn No more. So the traitor completes his own story, Anckarstroem Anckarstroem (with a thunderous look in his he insulted our country’s glory. Anckarstroem No arguing, it must be that Fate shall decide eyes) He deserves for his crimes to be murdered No more. this for us. Ask no questions, and do as I say. and he pays for them all with his life.

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Scene and quintet Ribbing and Horn Amelia (aside) Gustavus And the masks will make it easier How I wish I could warn him 12 Perhaps she is safely home now, resting at last. Anckarstroem for the task to be achieved. and yet not betray my husband. Our duty and our honour come between us and 10 Now Oscar may enter. open this chasm. Oscar Oscar (Oscar enters.) 11 My friend goes as envoy to England, and his Ah! I know that something wonderful I know you will be queen of the dancing. Amelia will follow him there. Oscar (to Amelia) can surely be expected, Amelia (aside) I shall not see her and soon a great distance will I am sent here by his Highness to invite you, you for all the dazzling beauties of the city will be collected; Ulrike could protect him. part us… my heart be silent. and your husband will be welcome at the ball (He writes, and at the moment when he is about to tonight. and hearts will leap as they advance, ah! Ribbing and Horn when they arrive to join the dance. sign, he lets the pen drop.) What are the colours you will wear? But am I sure? Oh God, yes it’s my duty. Amelia (distressed) Amelia (aside) (He signs it, and puts the paper in his breast pocket.) I cannot… And it was I, oh misery, Anckarstroem Ah, I have signed it, and sacrificed my being. who took the fatal paper You’ll easily find me dressed in a sky blue jacket, Anckarstroem 13 But if your light is lost to me from the urn of treachery a crimson ribbon on the shoulder. Will His Majesty be there? forever, my beloved for my tempestuous consort; Ribbing and Horn Oscar my love will always fly to you the sheet where death had signed away Have you decided on a password? Yes Sir. wherever you may be waiting. that noble man’s last chance, his final chance. You are the sweetest memory Ribbing and Horn (to themselves) Anckarstroem Anckarstroem (aside) that hides within my heart, How perfect. Murder! Look where he lies in agony, that hides forever in my heart. Anckarstroem (to the page, but looking at his my mind can paint the picture; Amelia (aside) But now one dark obsession companions) I see his blood annointing How I wish I could warn him! has overwhelmed my feelings, We accept his invitation. the floor with scarlet tincture; Oscar will Fate make one concession, the criminal will perish Oscar The queen of the dancing! grant us one final meeting? without a friendly glance. It will be a masked ball, quite magnificent… I long to have that final chance, Ribbing and Horn Scene 2 one final hour of love. Anckarstroem He dies at his own masquerade, A sumptuous, small apartment of the King. A table Ah, fate, please grant a final chance, How excellent! it could not suit us better, with writing materials; at the back is a great curtain a single moment to celebrate our love, (pointing to Amelia) disguised among the party guests, which will be drawn aside to reveal the ball. our love once more? Tell him she will come with me. pursuing our vendetta; Will Fate make one last concession? Third Finale Amelia (aside) the ball will be a funeral Ah, let me have one final hour, God save me! where phantoms lead the dance. Scene and Romance for us to celebrate our love once more. 121 120 CHAN 3116 BOOK.qxd 20/9/06 11:45 am Page 122

(Dance music is heard from within.) pursue, others escape. There are negro servants and Anckarstroem Anckarstroem everything exudes an atmosphere of magnificence I think someone may have warned him. Well thank you, do you not think you should Gustavus and high spirits. guard your sleeping master? You slip off to your 14 Ah! She is there. How can I see her and tell her Ribbing dancing, there could be a disaster… what I know I must say? But no, her husband Chorus So fortune has deceived us. will keep her away. 15 The hall is filled with laughter, Horn Oscar with music and with dancing; But he is here... (Enter Oscar with a paper in his hand.) music and dancing; He always slips through our fingers. Oscar as life so quickly passes, Anckarstroem Anckarstroem An unknown lady passed this letter to me. enjoy it while you’re living, Do keep your voice down; I’m certain that we What? Where? enjoy it while you may. ‘For His Majesty’ she told me ‘be sure you give it are being watched. Oscar him in secret’. Night of delight and pleasure, we wish you could last forever; Ribbing I told you… Gustavus (reading the letter) why not forget your sorrow, By whom? ‘At the ball, someone will make an attempt on Anckarstroem forget it and cast your cares away? Anckarstroem your life, be careful’… But if I stay here, they All right, which one? (Ribbing, Horn and their followers enter in blue Look to your left, see that man all dressed in will say I’m afraid. I’ll go: they must not suspect dominoes, with scarlet sashes. Anckarstroem, in the black. Oscar something is wrong. Oscar, go quickly, get ready, same costume, slowly approaches them.) I cannot say.… then we shall both join the party. (They disperse, but Anckarstroem is followed by (exit Oscar) Ribbing (coming close to Anckarstroem) Oscar, who is masked.) Anckarstroem Yes, I will see you Amelia, Look, there is one of our men. Murder! Stop teasing! Oscar (to Anckarstroem) look on your beauty again, Anckarstroem (bitterly) Here is a person I recognise; I can see through you. Oscar and for a moment, I shall know Yes: murder! He will not come. our love was not in vain. Anckarstroem (drawing back) You find him for yourself. Ribbing and Horn Get moving! Scene 3 He will not? Anckarstroem Come on! A splendid and spacious ballroom, brilliantly Anckarstroem Oscar (still following him) You are Anckarstroem. illuminated and decorated for the party. There is Waiting like this is useless. Oscar festive music before the dances, and even as the Anckarstroem (pulling off Oscar’s mask) But if I betray him, what will be my reward? curtain rises the stage is filled with guests. The Ribbing Useless? And you are Oscar. majority are masked, some in domino, others in Anckarstroem gala costumes with uncovered faces. There are some Horn Oscar Be sensible: will you tell me at least how he is young creoles among the dancing couples. Some But why? Well what bad manners. dressed?

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Oscar (playing) Oscar Oscar (disappearing in the crowd) Gustavus 16 Why are you caring? Is there something you must ask him, I’ve said enough already. But who are you? How do you know this? What is he wearing? or maybe you want to share a joke? Chorus Amelia It is a secret Anckarstroem The hall is filled with laughter, Don’t ask me. I cannot…. and I shall keep it; Precisely. with music and with dancing; Oscar knows well Gustavus music and dancing; but will not tell, Oscar Why are you weeping? And why are you so as life so quickly passes, Tra la la la la la etc. And will you tell him who betrays his little secret? frightened? enjoy it while you’re living, I have desires And why are you revealing such passion in your Anckarstroem enjoy it while you may. like blazing fires, feelings? Of course not. It’s confidential, I think he ought Night of delight and pleasure, I move discreetly to know we wish you could last forever; Amelia but sing so sweetly; why not forget your sorrow, But I would save you, but I would gladly die for for love nor gold, Oscar and cast your cares away? you. you won’t be told, Must it be now?… Why not forget your sorrow tra la la la la la etc. Gustavus and cast your cares away? Oscar knows well Anckarstroem In vain you hide, Amelia: my angel come from I’ve something quite important to tell him. but will not tell, (Gustavus comes forward, dressed in a black heaven. Before the night is over he should be told. tra la la la la la etc. domino with a red ribbon. Behind him follows He’ll be annoyed if I don’t tell him, Amelia (in despair) Amelia in a white domino.) (At this moment, groups of maskers and dancing and then it will be your fault. I love you, I love you desperately, couples cross the front of the stage and separate the Amelia (quietly, so as not to be recognised ) and on my knees I beg you, page from Anckarstroem. They return upstage and Oscar 18 Ah! You are here!… Go quickly!… here where a secret murderer disappear at the back.) Well then… sharpens his vengeful weapon. Gustavus You’ll die before the morning, Chorus Anckarstroem So you sent me that letter? I beg you heed my warning: 17 The hall is filled with laughter, You’re doing him a favour, it’s not for me. save yourself, go, and leave me, with music and with dancing; Amelia Oscar (coming closer, and quickly) quickly go, before it is too late. music and dancing; There is death all around you. Dressed in a velvet cloak, on his breast a scarlet as life so quickly passes, Gustavus Gustavus ribbon. enjoy it while you’re living, But nothing that can make me afraid. But if you love me Amelia, (He is about to move away.) my fate is not important… enjoy it while you may. Amelia Anckarstroem (catching up with Oscar) Anckarstroem Go quickly, go quickly. They are intending to Amelia You can confide in me because I am his friend. I’ve one more thing to ask you. kill you tonight. Leave me!

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Gustavus Gustavus Amelia Kill him… the traitor, …but if my soul is with you the world can be But you are safe. Tomorrow with your husband, Alas! the murderer at the ball! Strike him dead! He shot him! He slaughtered him! forgotten. you go… Gustavus And here in this hallowed hall! Amelia Amelia Say for the last time, you love me. Traitor, traitor at the ball! Save yourself! Where to? Amelia and Gustavus Ah! Ah! Ah! Death and vengeance, Gustavus Gustavus I love you!… death and vengeance on you we call! I have no fear of dying, Go as envoys to England. Anckarstroem (unobserved, throwing himself Gustavus between them, and shooting him) Amelia Amelia No no… release him… release him… 19 This is how I embrace you! Go! We go to England! (to Anckarstroem, touching the despatch) Gustavus Gustavus Gustavus You… hear my words. … for love is death-defying, My heart will break.... but you must go there… Oh no! 20 She is blameless: as death approaches, I will swear it and God will hear me: Amelia must leave me. Amelia Oh, save him, oh, save him. it is true, I loved Amelia, Ah, save yourself! Amelia but respected her good name. Gustavus Gustavus! Oscar (running up to him) Take this paper, your new assignment, Oh God! Someone has shot him! … and all I care to feel is you are my heavenly Gustavus you and she will leave together… fate. My heart will break…. Chorus It is true, I loved Amelia But who? but on her there is no shame. Amelia Amelia Where is the traitor? You’ll die before the morning, Gustavus! Amelia I beg you take my warning: (Ribbing and Horn appear at the back.) What remorse is in my heart, Gustavus save yourself, go, and leave me, I’m completely torn apart, My love, Amelia... Oscar ( pointing at Anckarstroem) quickly go, before it’s too late. caught between the guilty murderer There he is!… Gustavus Amelia and his victim who will die! For love is death-defying, Gustavus! (All surround him and take off their masks.) and all I care to feel is that Oscar Tutti you’re my heavenly fate. (He tears himself away from her, but after a few Oh, despair beyond all measure steps he turns to her and says with all his soul.) Anckarstroem! as we lose the man we treasure! Amelia Chorus On his face I see the agony Surely you cannot want to see me Gustavus Ah! as he breathes his last goodbye. die of shame and horror? And for the last time, embrace me.

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Anckarstroem Amelia and Oscar Fatal error! Nothing awaits me, Dear God, please save him ah! save this great I am cursed and damned forever! man. Jealous rage and lust for vengeance Anckarstroem made me strike the fateful blow. God, please save him, Gustavus God have mercy and save him. I give thanks that you respect me, Ribbing and Horn I absolve you with my pardon. Good and generous, so good and generous. (Ribbing and Horn are still at the back of the stage.) Gustavus Chorus Farewell forever, my people… May he rest in peace forever in your mercy, God in heaven; Tutti Here on earth he ruled us generously, He is dying! grant him your celestial love. Gustavus May you bless him with your celestial love. Farewell beloved country… Anckarstroem Tutti He is good and he is generous. He is dying! Ribbing Gustavus Dear God, have mercy! Farewell… my people… forever …ah! Ribbing Farewell… Alas! I am dying!… My people…. He is good and he is generous. forev… I leave you! Horn Tutti He is good and he is generous. What pain and what despair!

English translation © Amanda Holden

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The Opera in English series: CHAN 3057(3) Mozart: Don Giovanni CHAN 3011(2) Donizetti: Don Pasquale CHAN 3103(2) Mozart: Idomeneo CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3013(3) Mozart: The Marriage of Figaro CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3022 Strauss: Der Rosenkavalier (The Knight CHAN 3017(2) Donizetti: Mary Stuart of the Rose, highlights) CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3054(3) Wagner: The Rhinegold CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3038(4) Wagner: The Valkyrie Company) CHAN 3045(4) Wagner: Siegfried CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3060(5) Wagner: Twilight of the Gods Chivalry) CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3101(2) Janácˇek: The Cunning Little Vixen Artistic consultant to the Peter Moores Foundation: Patric Schmid CHAN 3008(2) Puccini: La bohème CHAN 3029(2) Janácˇek: Osud (Fate) Vocal and language consultant: Ludmilla Andrew CHAN 3070(2) Puccini: Madam Butterfly CHAN 3106(2) Janácˇek: Jenu˚fa Staging director: Charles Kilpatrick CHAN 3000(2) Puccini: Tosca CHAN 3007 Mussorgsky: Boris Godunov (highlights) Translation research: Henrietta Bredin CHAN 3066 Jane Eaglen sings Tosca CHAN 3042(2) Tchaikovsky: Eugene Onegin Music librarian: Jacqui Compton CHAN 3086(2) Puccini: Turandot Great Operatic Arias CHAN 3025(2) Rossini: The Barber of Seville CHAN 3096 Elizabeth Futral CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3035 Yvonne Kenny Recording producer Brian Couzens CHAN 3074(2) Verdi: Aida CHAN 3099 Yvonne Kenny 2 Sound engineer Ralph Couzens CHAN 3052(2) Verdi: Ernani CHAN 3049 Della Jones Assistant engineer Michael Common CHAN 3079(2) Verdi: Falstaff CHAN 3010 Diana Montague Editor Jonathan Cooper CHAN 3068(2) Verdi: Otello CHAN 3093 Diana Montague 2 Operas administrator Sue Shortridge CHAN 3030(2) Verdi: Rigoletto CHAN 3112 Barry Banks Recording venue Blackheath Halls, London; 10, 11, 13, 14 & 15 July 2003 CHAN 3023(2) Verdi: La traviata CHAN 3006 Bruce Ford CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3100 Bruce Ford 2 Front cover Photograph of Dennis O’Neill by Clive Barda CHAN 3067 A Verdi Celebration CHAN 3088 Bruce Ford sings Viennese Operetta Back cover Photograph of David Parry by Bill Cooper CHAN 3091(2) Bizet: Carmen CHAN 3013 Dennis O’Neill Design Sean Coleman CHAN 3014(3) Gounod: Faust CHAN 3105 Dennis O’Neill 2 Booklet typeset by Dave Partridge CHAN 3089(2) Gounod: Faust (abridged) CHAN 3085 Alan Opie Booklet editor Kara Reed CHAN 3033(2) Massenet: Werther CHAN 3077 Andrew Shore p 2004 Chandos Records Ltd CHAN 3094(2) Berg: Wozzeck CHAN 3032 Alastair Miles c CHAN 3019(2) Handel: Julius Caesar CHAN 3044 John Tomlinson 2004 Chandos Records Ltd CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3076 John Tomlinson 2 Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3078 Baroque Celebration Printed in the EU

130 131 SOLOISTS/LONDON PHILHARMONIC ORCHESTRA/ PARRYCHAN 3116(2) TT 78:24 TT 47:54 Printed in the EU CHAN 3116(2) ACT III ACT LC 7038 DDD TT 124:18 ACTS I & II ACTS COMPACT DISC ONE Recorded in 24-bit/96kHz Recorded COMPACT DISC TWO bass tenor tenor soprano soprano baritone baritone baritone 2-disc set mezzo-soprano Ashley Catling Dennis O’Neill Dennis Brindley Sherratt Sherratt Brindley Roland Wood Roland Susan Patterson Susan Jill Grove Jill Linda Richardson Christopher Purves Christopher DIGITAL Anthony Michaels-Moore ...... England • ...... CHANDOS Essex • 2004 Chandos Records Ltd c (1813–1901) , Gustavus’s friend, Gustavus’s ...... Colchester • , a fortune teller...... , conspirator against the King...... , conspirator against the King ...... , a sailor in the King’s Navy, a sailor in the King’s ...... , Anckarstroem’s wife...... , Anckarstroem’s , the King’s page...... , the King’s 2004 Chandos Records Ltd Amelia’s Servant/LordAmelia’s Chief Justice Cristian Count Horn Count Anckarstroem ArvidsonUlrike Oscar Count Ribbing Amelia A Masked Ball A Masked p Geoffrey Mitchell Choir Mitchell Geoffrey Orchestra London Philharmonic Parry David Melodramma in three acts in three Melodramma Amanda Holden translation by English Somma, Antonio by Libretto III, King Sweden of Gustavus Giuseppe Verdi Giuseppe Chandos Records Ltd Ltd Chandos Records

VERDI: A MASKED BALL CHANDOS CHAN 3116 INLAY BACK.qxd 20/9/06 11:40 am Page 1 20/9/06 11:40 INLAY BACK.qxd CHAN 3116