RitoRna VincitoR! VeRonika DzhioeVa sings faVoRite aRias

Constantine Orbelian, conductor

Kaunas City Symphony1 Orchestra 1. Macbeth: Nel dì della vittoria ... della potenza, e mal per lui che il piede RitoRna VincitoR! Vieni t’affretta! dubitoso vi pone, e retrocede! Completed in 1847, Macbeth is the frst of Vieni t’affretta! Accendere VeRonika DzhioeVa sings faVoRite aRias three operas based upon Shakespearean ti vo’ quel freddo core! sources that Verdi completed; several others L’audace impresa a compiere were considered, but never came to fruition. io ti darò valore; 1. GIUSEPPE VERDI: Macbeth — Nel dì della vittoria ... Vieni t’affretta! (7:19) The version of the aria heard here — Nel dì di scozia a te promettono della vittoria ... Vieni t’affretta! — is from le profetesse il trono... 2. FRANCESCO CILEA: Adriana Lecouvreur — Io son l’umile ancella (3:28) the composer’s 1865 revision of the opera. Che tardi? Accetta il dono, The aria comes late in Act 1, as Lady Mac- ascendivi a regnar. 3. UMBERTO GIORDANO: Andrea Chénier — La mamma morta (4:51) beth — determined to see her husband en- throned as king — reads a letter from him re- Duncano sarà qui?...qui? qui la notte? 4. GIACOMO PUCCINI: Madama Butterfy — Un bel dì vedremo. (4:21) vealing his encounter with witches who had Or tutti sorgete, — ministri infernali, (among other darker predictions) foretold Che al sangue incorate, — spingete i mortali! 5. PUCCINI: Suor Angelica — Senza mamma (4:48) that he would become king of Scotland. She Tu, notte, ne avvolgi — di tenebre immota; then tells him not to hesitate, fanning the Qual petto percota — non vegga il pugnal! 6. PUCCINI: Tosca — Vissi d’arte (3:15) fame of his uncertain ambition by urging him to “Accept the gift, mount the throne • 7. VERDI: Aida — Ritorna vincitor! (6:42) and reign,” no matter how much blood must I met them on the day of victory. be spilled in the process. 8. VERDI: Aida — Qui Radamès verrà. (6:12) I was stunned at what I heard. When the King’s messengers hailed me Nel dì della vittoria io le incontrai... 9. VERDI: Il trovatore — Tacea la notte placida (4:58) Thane of Cawdor, it fulflled a prophecy Stupito io n’era per le udite cose; that those witches had made. quando I nunzi del re mi salutaro 10. VERDI: La forza del destino — Pace, pace mio Dio (5:14) They also foresaw a crown upon my head. Sir di caudore, vaticinio uscito Make this your heart’s secret. Farewell. dalle veggenti stesse. 11. VERDI: Un ballo in maschera — Ecco l’orrido campo… Ma dall’arido stelo divulsa (8:19) Che predissero un serto al capo mio. Macbeth, you are an ambitious one. Racchiudi in cor questo segreto. Addio. You hunger for greatness, but can you be evil enough? VERONIKA DZHIOEVA, soprano Ambizioso spirto. The path to power CONSTANTINE ORBELIAN, conductor Tu sei Macbetto... Alla grandezza aneli, is littered with atrocities, and woe to him KAUNAS CITY SYMPHONY ORCHESTRA ma sarai tu malvagio? who treads it hesitantly and retreats! Pien di misfatti è il calle Total Playing Time: 59:32

2 3 Come, make haste! I seek to which the dedicated artist Adriana re- 3. Andrea Chénier: La mamma morta la cupa via! to light a fre in your cold heart! plies — in “Io son l’umile ancella” — that Guardo! I shall give you the courage she is only a vessel for the creative spirit: Set in Paris before and during the chaos of Bruciava il loco di mia culla! to carry out this bold undertaking. “I’m the echo of human drama ... my name the French revolution, Umberto Giordano’s Cosi fui sola! The prophetesses promise you is Faithful.” Despite the complex and con- Andrea Chénier is a verismo opera in four E intorno il nulla! the throne of Scotland. fusing plot that follows – and the heroine’s acts; it was frst performed at Milan’s La Fame e miseria! Why delay? Accept the gift, unlikely “death by poisoned violets” in the Scala in 1896. Maddalena, the daughter of Il bisogno, il periglio! mount the throne and reign. end – the opera has retained its foothold in a countess, frst meets the title character, a Caddi malata, the modern repertoire. The stunning appeal popular poet, at an aristocratic soirée. Five e Bersi, buona e pura, Duncan will be here tonight? Here? of this aria will only begin to tell you why. years later, at the height of the revolution’s di sua bellezza ha fatto un mercato, Now rise up, you fiendish ministers, “reign of terror,” they meet again and declare un contratto per me! who stir the blood and spur Ecco: respiro appena. their love for each other. In Act 3, after Chén- Porto sventura a chi bene mi vuole! mortals onward! Io son l’umile ancella del Genio creator ier has been imprisoned, Maddalena comes Fu in quel dolore O night, conceal it in foul darkness; ei m’offre la favella, io la diffondo al cor. to plead for his life and sings “La mamma che a me venne l’amor! so that the stabbed breast won’t see Del verso io son l’accento, morta,” describing how her mother, the Voce piena d’armonia e dice: the dagger! l’eco del dramma uman, Countess, died to save her as their house Vivi ancora! Io son la vita! il fragile strumento vassallo della man. burned, casting her into poverty and despair Ne’ miei occhi e il tuo cielo! Mite gioconda, atroce, mi chiamo, Fedeltà. until Chénier gave her new hope and en- Tu non sei sola! 2. Adriana Lecouvreur: Io son Un soffo è la mia voce, che al novo dìmorrà. couragement. Despite his judge’s promise Le lacrime tue io le raccolgo! l’umile ancella to the contrary, Chénier is condemned to Io sto sul tuo cammino e ti sorreggo! • die. Maddalena comes to visit him, and bribes Sorridi e spera! Io son l’amore! When Francesco Cilea’s successful L’arlesia- See, I am scarcely breathing … a guard to let her change places with a con- Tutto intorno e sangue e fango? na prompted the commissioning of another I am the humble servant of the demned noblewoman, enabling the lovers to Io son divino! Io son l’oblio! opera, the result was Adriana Lecouvreur: a creative genius face the guillotine together. Io sono il dio che sovra il mondo story so popular for its comic/tragic mixtu- who gives me the words which scendo da l’empireo, fa della terra re and moving (if far-fetched) fnal act that ignite the soul. La mamma morta m’hanno un ciel! Ah! three other composers set the same story. I am only the accent of his verse, alla porta della stanza mia; Io son l’amore, io son l’amor, l’amor’ Their efforts have long since been forgot- the echo of the human drama, moriva e mi salvava! E l’angelo si accosta, bacia, ten. Premiered in Milan in 1902, Cilea’s the fragile instrument on which he plays. poi a notte alta e vi bacia la morte! opera begins with a classic play within a Tender, joyful, savage, my name is “Faithful.” io con Bersi errava, Corpo di moribonda e il corpo mio. play, with actors and actresses whose own My voice is a sigh which will die tomorrow. quando ad un tratto Prendilo dunque. curtain is about to rise, and featuring the un livido bagliore guizza Io son gia morta cosa! actress Adriana and her rival, Duclos. The e rischiara innanzi a’ passi miei Prince of Bouillon arrives to wish them luck, •

4 5 They killed my mother I’m love, I’m love, love — wishes to adopt Butterfy’s child. Butterfy "Piccina mogliettina, at my room’s door; and an angel draws nigh with a kiss shuts herself away in her room and com- Olezzo di verbena!” she died saving me! and it’s death that’s kissing you. mits suicide with her father’s dagger just as I nomi che mi dava Later, in the depths of night, My body is dying. Pinkerton arrives, calling her name. al suo venire. Bersi and I were wandering ... So take it. Tutto questo avverrà, when suddenly, I’ve already died! Un bel dì vedremo te lo prometto. I see a pale glow, levarsi un fl di fumo Tienti la tua paura, and it lightens the dark street sull’estremo confn del mare. io con sicura fede l’aspetto. ahead of me. I look! 4. Madama Butterfy: Un bel dì vedremo E poi la nave appare — My home was on fre! poi la nave bianca • So I was alone! Puccini began working on Madama But- entra nel porto, romba One fne day we’ll see And all around me, nothing! terfy immediately after seeing David Be- il suo saluto. Vedi? a curl of smoke arising Hunger ... despair! lasco’s play by the same name in 1900, and È venuto! on the ocean’s horizon, Poverty ... danger! the revised version that we know today was Io non gli scendo incontro. and then the ship will appear. I became ill, premiered in the spring of 1904. Perhaps the Io no. Mi metto là Then the white ship and Bersi, pure and good-hearted, composer was attracted to Butterfy’s unwav- sul ciglio del colle e aspetto, will sail into the harbor, marketed her beauty ering and hopeful (yet ultimately tragic) love, e aspetto gran tempo thundering a salute. for my sake. as expressed in one of Puccini’s most famous e non mi pesa Do you see it? He has come! I bring only misfortune to those and moving arias, “Un bel dì vedremo.” She la lunga attesa. I won’t go down to meet him, who love me! waits faithfully for Pinkerton, her American E … uscito dalla folla cittadina instead, I’ll stand there It was in that deep sorrow naval offcer husband, three years after he un uom, un picciol punto on the hill’s crest and wait, that love approached me! married her then abandoned her in Japan. s’avvia per la collina. and wait for a long time, A harmonious voice, saying: Butterfy (a.k.a. Cio-cio-san), who has borne Chi sarà? Chi sarà? and I won’t fnd You must live! I am life itself! his child, sings ecstatically of an imaginary E come sarà giunto — the wait long. My eyes show your heaven; future scene in which Pinkerton returns to Che dirà? che dirà? And from within the crowd, you’re not alone! her as he had promised. After looking to Chiamerà "Butterfy!” a man — a tiny fgure — I’ll gather up your tears! the ocean to see his ship arrive, she patient- Dalla lontana. will begin to climb the hill. I’ll walk beside you and uphold you! ly waits for him to ascend the mountain to Io senza dar risposta Who could it be? Smile and hope! I am love! her dwelling, where he will call her “dear me ne starò nascosta, And when he has arrived, Are you mired in mud and blood? little wife, bouquet of verbena” like he did un po’ per celia what will he say? I am divine oblivion! before. Note how the aria shifts between e un po’ per non morir From the distance, I’m the God that descends to Earth gentle reverie and staggering dramatic in- al primo incontro, he will call, “Butterfy!” from the cosmos; I transform Earth tensity. She later discovers Pinkerton has ed egli alquanto in pena I won’t answer, into heaven! Ah! returned, but with his American wife — who chiamerà, chiamerà: but will remain hidden,

6 7 in part to tease him, that her illegitimate son had died two years • 1800, it contains graphic scenes depicting and partly so I don’t die earlier of fever, leading to her heartbroken murder, torture and suicide at a time of un- as we frst meet. aria, “Senza mamma.” Then, resolved to Without your mother, o my baby, checked police brutality. In Act 2, the news A bit worried, join her son in heaven, Angelica takes poi- you have died! comes that Napoleon has won an impor- he’ll call, son. Realizing too late that her suicide is a Your lips, without my kisses, tant battle: a defeat for Baron Scarpia, the “Dear little wife, mortal sin, she prays to the Virgin Mary for grow pale and cold! villainous secret police chief who supports bouquet of verbena,” forgiveness, and — as she dies — a vision of And close, o baby, a rival faction. Opposition sympathizer Ca- your pretty eyes. as he called me Mary appears, leading the boy to her as the varadossi, voicing his defance of tyranny, when he was last here. chorus sings of her salvation. I cannot caress you, is arrested and taken away to be executed And, I promise you, your little hands composed in a cross! just as Floria Tosca, his beautiful dark-haired all this will happen. Senza mamma, o bimbo, And you are dead lover, appears. Scarpia tells her that he would Calm your fears; tu sei morto! without knowing how loved you were let Cavaradossi go free if she’d give herself I’ll wait for him Le tue labbra, senza i baci miei, by your mother! to him. Fighting off his advances, she calls with utter faith. scoloriron fredde! Now you are an angel in heaven, on God in her aria, “Vissi d’arte,” declaring E chiudesti, o bimbo, now you can see your mother, that she has dedicated her life only to art, gli occhi belli! you can descend from heaven charity and love. But Scarpia insists, and 5. Suor Angelica: Senza mamma Non potendo carezzarmi, and let your essence linger around me, Tosca — now forced to give in or lose her le manine componesti in croce! feeling my kisses and caresses. lover — agrees to Scarpia’s proposition ... Suor Angelica, an opera in one act, is E tu sei morto Ah! Tell me, when will I see you in heaven? but after he has written a false pardon for the second of the three short operas that senza sapere quanto t’amava When will I be able to kiss you? the lovers, she kills him with a knife she has make up Puccini’s operatic trilogy, Il Trit- questa tua mamma! Oh! Sweet end to all my sorrows, found. Later, after learning that Caravadossi tico — the other two being Il Tabarro and Ora che sei un angelo del cielo, when I greet you in heaven. has been executed anyway, she — in one of Gianni Schicchi. the trilogy was frst perfor- ora tu puoi vederla la tua mamma, When will I greet death? opera’s most spectacular suicides — fings med at New York’s Metropolitan Opera in tu puoi scendere giù pel frmamento Tell your mother, beautiful creature, herself off the parapet of Castel Sant’Ange- 1918. Sister Angelica’s aristocratic Florenti- ed aleggiare intorno a me ti sento. with a sparkle of the stars. lo to her death. ne family had committed her to a convent Sei qui, mi baci e m’accarezzi. Speak to me, my beloved! seven years previously, after she had given Ah! Dimmi, quando in ciel potrò vederti? Vissi d’arte, vissi d’amore, birth to a son out of wedlock, and she has Quando potrò baciarti? non feci mai male ad anima viva! not heard from them since. Unexpectedly, Oh! Dolce fne d’ogni mio dolore, 6. Tosca: Vissi d’arte Con man furtiva quante miserie conobbi, the Princess (her aunt), arrives to obtain her quando in ciel potrò salire? aiutai. signature on a document renouncing her Quando potrò morire? Many consider Puccini’s Tosca to be the Sempre con fe’ sincera la mia preghiera share of her family inheritance, since her Dillo alla mamma, creatura bella, most intensely melodramatic of his gre- ai santi tabernacoli salì. Sempre con fe’ younger sister is about to marry another con un leggero scintillar di stella. at masterpieces.; it wa frst performed in sincera diedi fori agli altar. nobleman. Cruelly, she then tells Angelica Parlami, amore! Rome in 1900. Set in Rome at the time of Nell’ora del dolore perchè, perchè, Signore, Napoleon’s threatened invasion of Italy in 8 9 perchè me ne rimuneri così? tain of the Royal Guard, yearns to lead his Dunque accordar poss’io questo when he is welcomed in triumph by Egypt. Diedi gioielli della Madonna al manto, nation’s forces to victory against the invad- fervido amore And behind his chariot, a king, my father, e diedi il canto agli astri al ciel, ing Ethiopians, so that he can free his secret che, oppressa e schiava, a captive in chains. Che ne ridean più belli. heartthrob, the Ethiopian slave girl Aida. come raggio di sol qui mi beava? O gods, undo my insane words! Nell’ora del dolore perchè, perchè, Signor, ah, Unknown to her Egyptian captors, Aida Imprecherò la morte a Radamès, Return this daughter to her father’s heart; perchè me ne rimuneri così? is actually the daughter of Amonasro, the a lui ch’amo pur tanto! destroy the forces of our oppressor! Ethiopian King, who is now leading his forc- Ah! non fu in terra mai, da più Ah, wretched me! What have I said? • es towards Thebes to rescue her. At the end crudeli angoscie And my love? I have lived for art, I have lived for love; of the opera’s opening scene, Aida — alone un core affranto! Can I then forget this burning passion never have I harmed a living creature! in the king’s hall — gives voice to her an- I sacri nomi di padre, d’amante which as an oppressed slave I welcomed Countless times have I given secret aid guished inner confict, torn as she is be- nè profferir poss’io, nè ricordar; like a warming ray of sunshine? to the unfortunate. tween her passionate love for Radamès and per l’un, per l’altro confusa tremante Shall I invoke death upon Radamès, Always with true faith were my prayers loyalty to her nation and her father. In the io piangere vorrei, vorrei pregar. the one whom I love so much? offered aria “Ritorna vincitor!,” hardly have the Ma la mia prece in bestemmia si muta … Oh, never on this earth has a heart known to the holy shrines; always with true faith words “return a conqueror” passed her lips Delitto è il pianto a me, colpa il sospir … more cruel torment! have I laid fowers on the altar. when she is wracked by her heart’s truest In notte cupa la mente è perduta, The sacred words “father” and “lover” — In this, my hour of grievous trouble, desire, traitorous though it may be. e nell’ansia crudel vorrei morir. I can why, oh Lord, do You reward me thus? I have Numi, pietà del mio soffrir! no longer speak nor remember them; given jewels to grace the mantle of Our Lady; Ritorna vincitor! Speme non v’ha pel mio dolor. in my fear and confusion I long to weep, I have sung for the stars and for the heavens, E dal mio labbro uscì l’empia parola! Amor fatal, tremendo amor, to pray for each. that they might smile more kindly. Vincitor del padre mio, di lui che spezzami il cor, But my prayers become blasphemies … In this hour of grievous trouble, impugna l’armi fammi morir! My tears and sighs become sins … why, O Lord, have You rewarded me thus? per me, per ridonarmi una patria, una reggia, Numi pietà del mio soffrir! My mind is lost in darkest night, e il nome illustre che qui celar m’è forza! and in such cruel anguish I wish only to die. Vincitor de’ miei fratelli … ond’io • O gods, have pity on my suffering! 7. Aida: Ritorna vincitor! lo vegga, tinto Return in victory! There is no hope for such sorrow as mine. del sangue amato, trionfar nel plauso From my lips have come traitorous words! Fatal love, overwhelming love, Aida was originally commissioned to serve dell’Egizie coorti! Victory over my father, who leads the army break my heart! Let me die! as the gala opener for Egypt’s new opera E dietro il carro, un Re, mio padre, to regain for me a country, a kingdom, O gods, have pity on my suffering! house in Cairo, where it was premiered in di catene avvinto! and a great name which I must conceal 1871. It’s Verdi’s grandiose tale of trium- L’insana parola, O Numi, sperdete! for the present phal military conquest and jealousy-fueled Al seno d’un padre la fglia rendete; victory over my brothers … with whose tragedy set in the ancient Egypt of the Pha- struggete le squadre dei nostri oppressor! beloved blood raohs. Radamès, the dashing young Cap- Ah! Sventurata! che dissi? E l’amor mio? he may be stained

10 11 8. Aida: Qui Radamès verrà or che d’amore il sogno è dileguato. in 1853, it begins outside Spain’s royal pal- Versi di prece ed umile O patria mia, non ti vedrò mai più. ace gates with a group of soldiers keeping qual d’uom che prega Iddio As Act 3 begins, Aida — outside of the Oh patria mia, mai più ti rivedrò! watch for Count di Luna’s foe: a mysterious in quella ripeteasi temple of Isis — awaits her planned meeting knight-troubadour who is leading a rebellion un nome...il nome mio! with her beloved Radamès, who is soon to • against him. The captain of the guard tells a Corsi al veron sollecita... be married to Amneris, the daughter of the Radames will come here to me! story about a gypsy woman who had alleged- Egli era! egli era desso!... king. As she waits, she sings "Qui Radamès What does he want to tell me? I tremble! ly burned the Count’s infant brother to death Gioia provai che agli angeli verra," expressing her fear that he will give Ah! cruel one, if you bring me in retribution for her own mother’s execution. solo è provar concesso!... her his fnal farewell, driving her to suicide your last farewell, Within the gates, Leonora — Lady-in-waiting Al core, al guardo estatico, and fnal peace in the waters of the Nile. the Nile’s dark whirlpools to the Princess — awaits the return of Manri- la terra un ciel sembrò. But he arrives, declaring his love and inten- will give me a tomb, and maybe peace ... co, the troubadour, with whom she has fallen • tion to marry her after escaping with her Yes, perhaps even peace and oblivion. in love. In “Tacea la notte placida,” she sings to the desert. But they are overheard, and ecstatically about the frst time she heard him The quiet night was calm Radamès is arrested as a traitor, leading ul- O my country, never more will I see you! sing what she thought was a prayer, before and beautiful in the peaceful sky, timately to their death together, sealed in a Never more, never more will I see you! realizing that the song was in praise of her the moon’s silvery face locked vault beneath the temple. O blue skies, O sweet native breezes, rather than of God. When Manrico appears, showed glad and full… where shone peacefully the morning of the Count — who also loves Leonora — con- When, resounding in the air Qui Radamès verrà! my life; fronts him and challenges him to a duel. In that had been so quiet Che vorrà dirmi? Io tremo! O green hills, O perfumed riverbanks, the end (three acts later), Leonora chooses a soft and sweet sound – Ah! se tu vieni a recarmi, o crudel, O my country, I will see you never more! death by poison rather than marry di Luna, the harmony of a lute – l’ultimo addio, Never more! No, no, never more! shortly before di Luna learns to his horror and a troubadour sang del Nilo i cupi vortici O cool valleys, o calm refuge, that his just-executed enemy Manrico was in a melancholy song. mi daran tomba e pace forse, which love one day promised me. fact his long-lost brother. Those humble verses e pace forse e oblio. Now that the dream of love is gone, were like a man praying to God. O my country, I’ll never see you again. Tacea la notte placida But in them was repeated O patria mia, mai più ti rivedrò! O my country, never more will I see you! e bella in ciel sereno, a name… mine!… Mai più! mai più ti rivedrò! la luna il viso argenteo So I ran to the balcony… O cieli azzurri o dolci aure native mostrava lieto e pieno... There he was! It was he!… dove sereno il mio mattin brillò 9. Il Trovatore: Tacea la notte placida Quando suonar per l’ aere, I felt a joy that only angels O verdi colli o profumate rive infno allor sì muto, are allowed to feel!… O patria mia, mai più ti rivedrò! Begun as a sequel to Rigoletto, Il Trovatore dolci s’ udiro e febili To my heart, to my ecstatic eyes, Mai più! no, no, mai più, mai più! turned out to be one of Verdi’s most exotic gli accordi di un liuto, the earth seemed like heaven. O fresche valli, o queto asil beato (and complex) operatic stories – also one of e versi melanconici che un di promesso dall’amor mi fu his all-time smash hits. Premiered in Rome un Trovator cantò.

12 13 10. La forza del Destino: Fatalità! Fatalità! Fatalità! 11. Un ballo in maschera: Ecco l’orrido S’innoltri. Ah, mi si aggela il core! Pace, pace mio Dio Un delitto disgiunti n’ha quaggiù! campo… Ma dall’arido stelo divulsa Sino il rumor de’ passi miei, qui tutto Alvaro, io t’amo, e su nel cielo è scritto: m’empie di raccapriccio e di terrore! Yet another Leonora comes to the fore in Non ti vedrò mai più! This scene and aria open Act 2 of Un ballo E se perir dovessi? La Forza del Destino: a somewhat odd Oh Dio, Dio, fa ch’io muoia; in maschera, Verdi’s politically controver- Perire! Ebben!... quando la sorte mia, conglomeration of ideas uncommon to che la calma può darmi morte sol. sial operatic tale of regicide that got its pre- il mio dover tal è... s’adempia, e sia! Verdi’s stage works, making it something of Invan la pace qui spero quest’alma miere (in modifed form) at Rome’s Teatro Ma dall’arido stelo divulsa an operatic mosaic. It was frst performed in in preda a tanto duol, in mezzo a tanto duol. Apollo in 1859. Amelia — the wife of Count come avrò di mia mano quell’erba, St. Petersburg, Russia, in 1862. The episodic Misero pane, a prolungarmi vieni Anckarström, King Gustavo’s secretary — is e che dentro la mente convulsa plot encompasses wide geographical- and la sconsolata vita … Ma chi giunge? in love with the king, but is torn between quell’ eterea sembianza morrà: time-spans, and the musical traditions in Chi profanare ardisce il sacro loco? him and her marriage vows. Amelia, as Che ti resta, perduto l’amor… the opera itself derive from a diverse pool Maledizione! Maledizione! Maledizione! midnight approaches, fnds herself at a che ti resta, mio povero cor! of stylistic and structural conventions. desolate feld to meet the sorceress Ulrica, Oh! chi piange, qual forza m’arretra? Caught up in a love-hate triangle involving • from whom she seeks to obtain a potion to M’attraversa la squallida via? her brother and her lover, Leonora appears Peace, peace, o God! dispel her potentially adulterous, but as yet Su, corraggio... e tu fatti di pietra, in the fnal act after years of living in a cave Cruel misfortune has driven me to misery. innocent love for Gustavo. The grim locale non tradirmi, dal pianto ristà: as a hermit ever since she had been sepa- From the beginning of these hard years is evoked in an extended prelude, its turbu- O fnisci di battere e muor, rated from her family and lover. In “Pace, I have suffered bitterly. lence carrying over into the opening lines t’annïenta, mio povero cor! pace mio Dio,” she pleads for the peace Truly, I loved him! But God bestowed on him of the aria, “Ecco l’orrido campo… Ma Mezzanotte! Ah, che veggio? that has eluded her all these years, praying such grace and virtue that I love him still, and dall’arido stelo divulsa.” From there, the Una testa di sotterra si leva… e sospira! fervently for death. Abruptly introduced by cannot keep him from my thoughts. aria temporarily slows down, losing some Ha negli occhi il baleno dell’ira the orchestra’s “fate” theme, the exquisite Oh fate! Oh cruel fate! of its fearful agitation, with its melody e m’affsa e terribile sta! ah! melodic fow unfolds over a bed of harp The sins of the past have separated us! shared between Amelia’s voice and a solo Deh! mi reggi, m’aita, o Signor… tones, before rising in desperate supplica- Alvaro, I love you, but in heaven it is written English horn as she sings in fragmentary Miserere d’un povero cor… tion to its spine-tingling climax. God is then that we shall never meet again! utterances that refect her growing anxiety. • quick to grant her wish as she dies violently Oh God, God, let me die; The tempo and dramatic tension pick up as by her mortally wounded brother’s hand. for only then can I know peace. Amelia experiences a frightening vision of Here is the horrid feld In vain does my soul seek peace death, before fnally simmering down into where death and crime unite. Pace, pace, mio Dio! an impassioned prayer. Cruda sventura m’astringe, ahimè a languir; in the midst of such anguish. The columns are here… come il di primo da tant’anni dura Oh cursed bread, which prolongs with the plant growing green at their feet. this miserable Ecco l’orrido campo ove s’accoppia Let me approach… Ah, my heart freezes! profondo il mio soffrir. al delitto la morte! L’amai, gli è ver! Ma di beltà e valore existence.… But who comes now? Even the sound of my own Who dares profane this sacred place? Ecco là le colonne... footsteps completely cotanto Iddio l’ornò, che l’amo ancor, la pianta è là verdeggia al piè. nè togliermi dal core l’immagin sua saprò. A curse upon him! flls me with horror and terror! 14 15 And if I must perish? “What a gorgeous voice — like a Rolls- Perish! Well then, if it is my fate, my duty… Royce — she must sing in the best theaters Let it be done, and so be it! in the world!” wrote But when I have uprooted the dry stem about soprano Veronika Dzhioeva, whose of that herb with my hand, frst Delos recording offers intensely person- and inside my troubled mind, al performances of well-loved Italian arias. the heavenly image dies. What will remain for you, lost love... A native of South Ossetia, Veronika Dz- What will remain for you, my poor heart! hioeva trained at North Ossetia’s Vladika- Oh, why do I weep? What is holding vkaz College before graduating from the me back? St. Petersburg Conservatory in 2005. Since What blocks the wretched path I must take? then, she has become one of Russia’s lead- Come, courage… and you, poor heart, ing singers, being a leading soloist of the turn to stone, Novosibirsk Opera and Ballet Theater and Do not betray me; do not weep; a frequent guest soloist at the Bolshoi and or stop beating and die; Mariinsky Theaters. She remains in consid- be extinguished, my poor heart! erable demand throughout , Scan- Midnight! Ah, what do I see? dinavia and the Baltic nations; she has also A head rises from the ground… and sighs! appeared to great acclaim in the USA as well It has in its eyes the fash of anger as in China, Japan and Korea. and it stares at me, and terrible it is! Ah! support me, help me, oh Lord, Her major roles include the Countess (The have pity on a poor heart… Marriage of Figaro), Fiordiligi (Cosi Fan Tutte), Donna Elvira (Don Giovanni), Gorisla- —Notes by Lindsay Koob va (Ruslan and Lyudmila), Yaroslavna (Prince Igor), Marfa (The Tsar’s Bride), Tatiana (Eu- gene Onegin), Micaela (Carmen), Violetta (La Traviata), Elizabeth (Don Carlo), Lady Macbeth (Macbeth), Thaïs (Thaïs), Musetta (La boheme), Amelia (Un ballo in maschera), Zemfra (Aleko) and Liù (Turandot).

She has graced the stages of major opera houses worldwide, including the Teatro Co-

16 17 munale di Bologna, Teatro Real (Madrid), Obraztsova. As of this recording’s release, the Hamburg Opera, the Houston Opera, Viktoria is rehearsing the roles of Aida, Palermo’s Teatro Massimo, the Geneva Op- Elizabeth in Tannhäuser and Marguerite in era House, and Moscow’s Novaya Opera Faust at Russian and European theaters. Theater. Top conductors she has worked with include Mariss Janssons, Vladimir Fe- doseyev, Valery Gergiev, Mikhail Pletnev, Grammy-nominated conductor Constantine Vladimir Spivakov and Yuri Bashmet. She Orbelian “stands astride two great societies, has also made several notable television and fnds and promotes synergistic harmony appearances in Russia. from the best of each.” (Fanfare)

Ms. Dzhioeva’s concert repertoire features For over 25 years the brilliant American pi- the requiem masses by Verdi and Mozart, anist/conductor has been a central fgure Mahler’s Symphony No. 2, Beethoven’s in Russia’s and Eastern Europe’s musical Symphony No. 9, Mozart’s Great Mass in life — frst as Music Director of the Moscow C Minor, Richard Strauss’s Four Last Songs, Chamber Orchestra and the Philharmo- Saint-Saën’s Requiem, and Bruckner’s Te nia of Russia, and more recently as Chief Deum, as well as notable works by contem- Conductor of the Kaunas City Sympho- porary composers. She has collaborated ny Orchestra in Lithuania. In 2016 he also with major orchestras such as the Royal became Artistic Director of the State Aca- Concertgebouw, the Bavarian Radio Sym- demic Opera and Ballet Theater in Yerevan, phony, The Czech Philharmonic orchestra Armenia. In all of these centers, Orbelian of Prague, and has toured with the London leads concerts and recordings with some of Symphony Orchestra. the world’s greatest singers.

Dzhioeva’s many awards include the Opera News calls Constantine Orbelian Maria Callas Grand Prix, St. Petersburg’s “the singer’s dream collaborator,” and com- All-Russia Competition of Opera Singers, mented that he conducts vocal repertoire the International Glinka Competition “with the sensitivity of a lieder pianist.” and the Czech National Pragensis Prize, The California-based conductor tours and to name just a few. She has served as a records with American stars such as Son- jury member for numerous national and dra Radvanovsky and , international contests, alongside many and made numerous celebrated recordings other distinguished singers such as Elena with Dmitri Hvorostovsky before the leg-

18 19 endary singer’s untimely death. Orbelian vi won the “Best Concerto Recording of the in 2007, all with the Moscow Chamber Or- The Kaunas City Symphony Orchestra is the founder of the annual Palaces of St. Year” award in the . chestra, Orbelian continues to use his artis- grew from the Kaunas Chamber Orchestra, Petersburg International Music Festival. tic eminence in the cause of international which was founded in 1988 and since 2000 Orbelian’s appointment in 1991 as Music goodwill. He and his orchestras have also has been managed by Algimantas Treikaus- “Orbelian has star quality, and his orches- Director of the Moscow Chamber Orches- participated in cultural enrichment pro- kas. Its previous principal conductors were tra plays with passion and precision,” The tra was a breakthrough event: he is the frst grams for young people, both in Russia Pavel Berman, Modestas Pitrenas, and Audio Critic wrote of his acclaimed series American ever to become music director of and the In 2001 Orbelian was Imants Resnis; the position now belongs of over 50 recordings on Delos. Among his an ensemble in Russia. A tireless champi- awarded the Ellis Island Medal of Honor, an to American maestro Constantine Orbelian. concert and televised appearances are col- on of Russian-American cultural exchange award given to immigrants, or children of laborations with stars Renée Fleming and and international ambassadorship through immigrants, who have made outstanding The Kaunas City Symphony Orchestra Dmitri Hvorostovsky, and with his worldwide tours, he was awarded the contributions to the United States. gives concerts at home in Lithuania and in Cliburn’s sentimental return to Moscow, coveted title “Honored Artist of Russia” in the great pianist’s last performance. Orbe- 2004, a title never before bestowed on a Constantine Orbelian and the Kaunas City Symphony Orchestra lian’s frequent collaborations with Hvoros- non-Russian citizen. In May 2010, Orbelian tovsky included repertoire from their Delos led the opening Ceremonial Concert for the recordings of universal sentimental songs Cultural Olympics in Sochi — he frst event Where Are You, My Brothers? and Moscow setting the stage for Russia’s hosting of the Nights, as well as their 2015 recording in Olympic Games in 2014. In 2012 the Con- the same series, Wait for Me. Orbelian has sulate in awarded him the conducted historic live telecasts from Mos- Russian Order of Friendship Medal, whose cow’s Red Square, with such artists as Hvo- illustrious ranks include pianist Van Cliburn rostovsky and . and conductor , and which singles out non- whose work con- Born in San Francisco to Russian and Arme- tributes to the betterment of international nian emigré parents, Constantine Orbelian relations with the Russian Federation and made his debut as a piano prodigy with the its people. at the age of 11. After graduating from Juilliard in New York, From his 1995 performance at the 50th he embarked on a career as a piano virtu- Anniversary Celebrations of the United oso that included appearances with major Nations in San Francisco, to his 2004 per- symphony orchestras throughout the Unit- formance at the U.S. State Department ed States, United Kingdom, Europe, and commemorating 70 years of diplomatic re- Russia. His recording of the Khachaturian lations between Washington and Moscow, piano concerto with conductor Neeme Jär- and a repeat State Department appearance

20 21 abroad—including Latvia, Estonia, Norway, ceived a Grammy nomination; and a second Special thanks: Switzerland, Germany, Finland, and Italy. It album featuring Brownlee, Allegro io son (DE Algimantas Treikauskas, General Director of the Kaunas City Symphony Orchestra. appears regularly at various international 3515), which was released in 2016. festivals, presents special concert projects, John Fisher, whose guidance as Opera Consultant to the Kaunas City Symphony Orche- and gives theme-oriented concerts. Many stra was indispensable throughout the production of this recording. famous Lithuanian as well as foreign so- loists and conductors have collaborated Recorded at Kaunas Philharmonic, July 2018 with the orchestra—which organizes and appears in about ffty concerts per year. Producer: Vilius Keras A highly versatile ensemble, the orchestra Recording Engineers: Vilius Keras, Aleksandra Kerienė specializes in various genres of classical and Editing: Aleksandra Kerienė contemporary music, including crossover Mastering: Vilius Keras projects with such groups as The Scorpions, Photos of Veronika Dzhioeva: Aliona Bolkvadze Smokie, and the Electric Light Orchestra, to Booklet Editor: Lindsay Koob name a few. Booklet design and layout: Lonnie Kunkel

For two years, the orchestra also appeared on the opera contest show Arc of Triumph on Lithuanian National Television. Among the group’s prominent highlights in the 2012- 2013 season were its collaboration with leg- endary baritone Dmitri Hvorostovsky and Maestro Orbelian, as well as its appearance at the Murten Classics festival in Switzerland un- der the baton of Kaspar Zehnder. The orches- tra’s discography includes a number of recent CD projects recorded for Delos with several of today’s most acclaimed singers, conduct- ed by Maestro Orbelian. Among these are the complete opera Simon Boccanegra, with Dmitri Hvorostovsky in the title role (DE 3457), © 2019 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 which was released by Delos in 2015; ten- (707) 996-3844 • (800) 364-0645 or Lawrence Brownlee’s 2014 Delos release [email protected] • www.delosmusic.com showcasing Rossini arias (DE 3455), which re- Made in USA 22 23 DE 3575 24