CHAN 3155

CCHANHAN 31553155 WideWide bookbook cover.inddcover.indd 1 11/2/08/2/08 13:50:3613:50:36 © Bill Cooper © Bill

Great Operatic with Sir Thomas Allen

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CCHANHAN 31553155 Book.inddBook.indd 2-32-3 11/2/08/2/08 13:48:3513:48:35 Time Page Time Page (1756–1791) from Macbeth from Macbeth’s Scena and (Perfi di! – Pietà, rispetto) Papageno’s Aria (Der Vogelfänger bin ich ja) 5 ‘Treachery!’ – ‘When you are old and full of tears’ 5:16 [p. 59] 1 ‘I’m sure that there could never be’ 2:52 [p. 56] Wolfgang Amadeus Mozart from from Figaro’s Aria (Non più andrai) Leporello’s Catalogue Aria (Madamina) 2 ‘Here’s an end to your life as a rover’ 3:51 [p. 56] 6 ‘Little lady! Here’s a list I’ve assembled’ 5:38 [p. 60]

Giuseppe Verdi (1813–1901) from The Marriage of Figaro from Falstaff Figaro’s and (Se vuol ballare) Ford’s Monologue (È sogno? O realtà…) 7 ‘Bravo, my lord and master’ – 3 ‘I’m dreaming? Or is this true?’ 4:37 [p. 57] ‘So little master, you’re dressed to go dancing’ 3:30 [p. 60]

from Don Carlos’ and Rodrigo’s Duet (Dio, che nell’alma infondere) from La traviata (The Fallen Woman) 4 ‘Listen!’ – ‘God who has brought us together’ 5:41 [p. 58] Recitative and Duet (Pura siccome un angelo) with Gwyn Hughes Jones • Philip Tebb 8 ‘You are Violetta Valéry?’ – Geoffrey Mitchell ‘I have a daughter sent from God’ 18:56 [p. 61] with Claire Rutter

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CCHANHAN 31553155 Book.inddBook.indd 4-54-5 11/2/08/2/08 13:48:4013:48:40 Time Page Time Page Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart from The Magic Flute from The Magic Flute Pamina and Papageno’s Duet (Bei Männern, welche Liebe fühlen) Papagena and Papageno’s Duet 9 ‘A man in search of truth and beauty’ 3:12 [p. 66] 13 ‘Pa-pa-ge-na’ 2:38 [p. 69] with Susan Gritton soprano with Susan Gritton soprano

from Don Giovanni (1900 –1950) Don Giovanni’s Aria (Finch’ han dal vino) from 10 ‘Now that the wine has stopped them from thinking’ 1:29 [p. 66] 14 4:04 [p. 70] TT 76:23 from Don Giovanni Don Giovanni’s Canzonetta (Deh, vieni alla fi nestra) Philharmonia Orchestra 11 ‘Come softly to your window’ 2:20 [p. 67] Gareth Hancock assistant conductor David Parry Giuseppe Verdi from Don Carlos Prison Scene (Per me giunto è il dì supremo) 12 ‘I’m here, Carlos!’ – ‘My last day has dawned for ever’ 12:13 [p. 67] with Gwyn Hughes Jones tenor

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CCHANHAN 31553155 Book.inddBook.indd 6-76-7 11/2/08/2/08 13:48:4113:48:41 Sir Thomas Allen as Germont père in Sir Thomas Allen in the title role of The Royal ’s productionOn of session:Don Giovanni ?? ’s production of La traviata © Bill Cooper © Bill © Clive Barda /ArenaPal Barda © Clive

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CCHANHAN 31553155 Book.inddBook.indd 8-98-9 11/2/08/2/08 13:48:4213:48:42 Following his hugely popular fi rst recital disc for , Tom Allen here brings us fresh delights from his repertoire, mixing the less familiar with some of his ‘bench- mark’ roles (Leporello as well as Don Giovanni and Papageno, Verdi’s Ford and Rodrigo as well as Germont Père, Mozart’s Figaro (rather than the Count)), plus a favourite by Weill. In all these pieces Tom demonstrates the musical versatility and love of language – especially his native English – that has made him a legendary communicator in song and opera throughout the world. A recording to relish!

Sir Peter Moores, CBE, DL March 2008

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 10 11

CCHANHAN 31553155 Book.inddBook.indd 10-1110-11 11/2/08/2/08 13:48:4813:48:48 terms with Verdi. The more probable outcome further questions of what kind of voice it was, Great Operatic Arias there is a sore throat. He may look over the for Guglielmo’s music is relatively high, light pages of a Verdi score – the part in and lyrical in vocal character while Leporello’s This recital by Sir Thomas Allen is one in seems thin. For instance, the ‘baritone’ role the duet from La traviata, for instance – and is nearer the true bass (his stave always a series, itself part of the steadily growing of Leporello will sometimes be taken by a see no note that, on a good day, lies beyond written below Giovanni’s) and more that of a catalogue of opera in English, designed to real, full-time bass, as indeed will that of Don his compass; but what will tell is the frequency character-role. focus on a particular type of voice, with Giovanni himself. Similarly in The Marriage of of the notes lying dangerously close to the top Of the fi rst Don Giovanni, Luigi Bassi, we the purpose of illustrating its character and Figaro a bass Figaro is by no means uncommon and the extent to which this baritone voice is have at least a description of the voice in 1800 exploring its repertoire. Here, the voice is the (the great Ezio Pinza and his successor Cesare expected to live happily in those regions. What as ‘lying between tenor and bass’ – and we lyric baritone, and the programme concentrates Siepi, for example, sang the role frequently) has changed between Mozart and Verdi is, fi rst, note that the word ‘baritone’, though in on two composers whose work is central to it. and quite often the Figaro will be from that that the or ‘lie’ of a role has risen by a its Latin form it dates back to the fi fteenth Opera has now a 400-year-old history, bringing further intermediate category, the bass- tone and perhaps more. Along with this comes century, appears not to have been thought of. changes in styles, requirements and practices. baritone. The baritone himself is commonly the demand for additional power, resonance Mozart heard him in when still only Of all the male voices the baritone has thought of as an in-between voice anyway: and dramatic force. The true Verdi baritone is twenty and singing Count Almaviva in probably remained the most constant, being we are trained to take that view of it by our almost as rare as the genuine bass and a good The Marriage of Figaro: he had established nearest to the normal speaking voice. Even so, choral tradition where the four-part music is deal more so than the lighter varieties of tenor. himself over the previous two years as a the expectations of composers have changed for soprano, , tenor and bass. Offi cially Today, especially in Italy, once the main source, well-liked artist. The premiere, then, gained considerably, and singers have had to adapt. our have no in their ranks. As the supply appears to be running alarmingly an added distinction in the provision of a Between The Magic Flute (1791), Mozart’s last we know, the reality is that some ‘’ and low. twenty-one-year-old Don Giovanni. In later comic masterpiece, and Verdi’s Falstaff (1893) most ‘basses’ are really baritones, encouraged Mozart’s original Figaro at Vienna in 1786 years, Bassi would tell how Mozart would there lies little more than a century, but in to strain upwards or downwards as the case was the Italian Francesco Benucci, always encourage his singers to improvise (with the respect of their requirements of the singing- may be. described as a bass, sometimes with the condition that they also kept in touch with voice the difference is profound. It is also fairly certain that your average bass- addition buffo or comic. In a letter, Mozart the orchestra), and that on Bassi’s suggestion In his scores, Mozart does not specify singing baritones in the choral society could, reports his voice as ‘exceptionally good’, and Mozart rewrote the Giovanni–Zerlina duet the baritone voice at all. Don Giovanni, by amateur standards, make a reasonably that approval must have extended to a wider (‘Là ci darem la mano’) as many as fi ve times. for instance, has the male roles distributed successful attempt at the Mozart arias heard in estimate of him as an artist, as he cast him as In 1815 he sang his most famous role again, between one tenor and four basses. That he this recital (and may even have Figaro’s song for Leporello in the revised Vienna premiere of under the direction of Carl Maria von Weber. had different kinds of voice in mind is clear, the young recruit as a well-tried party-piece), Don Giovanni in 1788 and as Guglielmo in the Little is known about the original Leporello, yet the dividing line between them often but they are unlikely to be on such friendly fi rst Così fan tutte two years later. This raises Felice Ponziani, but Emanuel Schikaneder,

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CCHANHAN 31553155 Book.inddBook.indd 12-1312-13 11/2/08/2/08 13:48:4913:48:49 the fi rst Papageno, remains so familiar as a For his fi rst Macbeth, Rigoletto and Germont with singers of Caruso’s time, and Pini-Corsi late Verdi. And in the ‘encore’ piece, Kurt name and so vivid a character as almost to père he chose the French – Italian Felice became a prolifi c recording artist though Weill’s ‘September Song’ (track 14 ), he extends need no annotation. He was the complete man Varesi, whom he named ‘the only artist at only when his career had changed direction it further, albeit in a different direction. The of the theatre: writer, director, impresario, present in Italy who can take the part I am and he had become Italy’s favourite buffo. familiar melody, incidentally, has a not- actor, dancer and, incidentally, singer. No thinking of [Macbeth] by virtue of his singing Faure probably holds the record for baritone so-familiar origin. It comes immediately doubt he invented the role of Papageno with style, his sensibility and also appearance’. ‘creations’, which also included Nélusko in from a show called Knickerbocker Holiday a view to taking it himself and Mozart would In several letters Verdi gave him detailed L’Africaine and the title-role in Thomas’s staged in New York in 1938. This borrowed have written music to suit his voice, keeping instructions concerning the expressive, Hamlet (1868). He was reputedly a very from an unfi nished satirical , Der it within a comfortable range, placed in the dramatic requirements, always stressing that fi ne singer, with a voice of beautiful quality, Kuhhandel (1934), which had a short run at middle register and limited in style so as not the singer’s fi rst duty is towards the dramatist evenly produced and intelligently used. If the Savoy Theatre, London, in 1935 adapted to demand skills such as only a trained opera and his words. In the premiere of La traviata one is thinking of him as the ‘creator’of the into English as A Kingdom for a Cow. The singer would possess. (1853) Varesi is sometimes reckoned to have high-fl ying role of Verdi’s Rodrigo, however, ‘September Song’ became famous through the Verdi’s singers being so much closer to contributed to the debacle, or at least to have it may come as a surprise to learn that his original pre-war American recording by Walter us in time, we fi nd them rather more fully taken something of an ‘I told you so’ attitude favourite cheveau de bataille was Gounod’s Houston, so to our list of ‘originals’ should documented. Of his baritones, the most towards it. Apparently he considered himself Mephistopheles, a speciality of basses. now be added that distinguished Hollywood famous and favoured of all, the French- poorly served, after his previous triumphs, by One observation emerging from this veteran with his gravel voice of somewhat born Victor Maurel, can even be heard on the role of the elder Germont. He measured brief survey of ‘originals’ is that, though indeterminate pitch. gramophone records singing solos from his the status of a role in arias, and found remembered now for their associations Finally, variety takes one other form in our two most famous Verdi ‘creations’, Iago in ‘Di Provenza’ and the a poor with roles that go under the common programme. As in previous issues, the solos Otello (1887) and Falstaff (1893). He was allowance. To have a half-share in one of heading of ‘baritone’, they were in fact are interspersed with longer excerpts, duets much admired as a singing actor, and of his Verdi’s fi nest duets was evidently small remarkably varied. But then that is true also and ensembles. Two purposes are served: the work on stage the records (made in 1907) give compensation. of our own programme; not that Gounod’s principal voice is heard, as in the , in little idea. The voice itself appears never to Varesi’s name is rarely heard nowadays. Mephistopheles has a place in it, but it does combination with others, and the collection have been considered remarkable for richness Jean-Baptiste Faure, the fi rst Rodrigo in include Leporello’s Catalogue song (track 6 ), as a whole becomes more comprehensive. In or volume nor in respect of an extensive upper Don Carlos, and Antonio Pini-Corsi, who favourite of a whole catalogue of basses from The Magic Flute, Papageno the bird-catcher range. sang Ford in the premiere of Falstaff, are more Chaliapin, Kipnis and Christoff to Samuel meets the heroine, Pamina, at a point where But then, Verdi – whose writing for baritone often remembered, at least by record collectors, Ramey. With Ford’s Monologue in Falstaff both are on their own and wish they were not certainly requires these attributes – never because Faure also wrote songs, such as (track 3 ), Sir Thomas extends his lyrical voice (track 9 ). Love between man and wife, they seemed to be especially interested in them. ‘Les Rameaux’ and ‘Crucifi x’ that were popular to encompass the more declamatory style of agree, is the ideal, which they contemplate

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CCHANHAN 31553155 Book.inddBook.indd 14-1514-15 11/2/08/2/08 13:48:5013:48:50 warmly but dispassionately. His other duet freedom (track 12 ). The music Verdi wrote in Munich and , Milan, as well as both Thomas Allen’s fi rst book, Foreign Parts – is one of sheer joy: Papageno has found his for Rodrigo in this scene is some of the most the Salzburg and Glyndebourne Festivals. A Singer’s Journal was published in 1993 and Papagena (track 13 ). In between both duets, generous and full-hearted in his entire output. He has been particularly acclaimed for his in 2003 he made a triumphant directing Papageno, like Pamina, has to experience And, we note, he wrote it for the baritone. , Pelléas, , Ulisse and debut with at the Royal a dark hour in which death seems the only Public taste seems to have dictated that, in Beckmesser, as well as the great Mozart roles College of Music. He has since directed solution. She is saved from it by her lover, he general, the hero should be a tenor; if Verdi of Count Almaviva, Don Alfonso, Papageno, successful productions of Don Giovanni and by the Three Boys who speak the heaven-sent had had his own way, he might at least as often Guglielmo and, of course, Don Giovanni. His Così fan tutte at the Sage, Gateshead. His language of common sense and point out a have been a baritone. recent engagements have included Eisenstein many honours include the title of Bayerischer timely remedy. (), Don Alfonso, Ulisse and Kammersänger awarded by the Bayerische From Verdi’s La traviata we have one of the © 2008 John Steane Don Giovanni at the Bayerische Staatsoper; Staatsoper, Honorary Membership of the Royal fi nest in the great series of duets he wrote for Yeletsky (Pique Dame), Sharpless (Madama Academy of Music, Prince Consort Professor baritone and soprano, often between father Born in , Butterfl y) and the title role in Sweeney Todd of the , the Hambro and daughter, here between Giorgio Germont , Sir at the Royal ; Eisenstein at the Visiting Professorship of Opera Studies at and Violetta; one who appears as an enemy Thomas Allen made Glyndebourne Festival; Don Alfonso at the Oxford University, Fellowship of Jesus College (though a father himself) and becomes a Ahlberg Sussie his professional debut Lyric Opera of Chicago, the Salzburg Easter Oxford, Fellowship of the Royal College father-fi gure (track 8 ). Within the span of with Welsh National and Summer Festivals; Forester (The Cunning of Music, Fellowship of the University of barely twenty minutes a complete reversal of Opera and is now an Little Vixen) at the ; Sunderland, M.A. from fortune is brought about, the turning-point established star of the and Beckmesser and Don Alfonso at the and D.Mus. from . In the being a quiet single note on the resolution great opera houses of in New York. New Year’s Honours of 1989 he was created a of which the vital and tragic decision is the world. At the Royal Equally renowned on the concert platform, Commander of the British Empire and in the suspended. Opera House, Covent he appears in recital in the United Kingdom, 1999 Queen’s Birthday Honours he was made In Don Carlos the baritone’s duet partner is Garden, where in 2006 he celebrated the throughout Europe, in Australia and a Knight Bachelor. the tenor and, unusually for that combination, thirty-fi fth anniversary of his debut with the America, and has appeared with the world’s their voices are raised not in enmity but company, he has sung over forty roles. In 2006, great orchestras and conductors. The larger Geoffrey Mitchell’s singing career has friendship. Their faith is pledged as they he also celebrated the twenty-fi fth anniversary part of his repertoire has been extensively encompassed a remarkably wide repertoire sing their soldierly prayer to the ‘God who of his debut at the Metropolitan Opera, New recorded with such distinguished names as from early to contemporary music and has brought us together’ (track 4 ), and is York. He is an acclaimed artist of the Lyric , , , has taken him to Scandinavia, Germany, tragically proved in the Prison scene when Opera of Chicago, San Francisco Opera and , Sir , Wolfgang the former Czechoslovakia, Canada and Rodrigo gives his life to allow Carlos his ; the Bayerische Staatsoper Sawallisch and . Australasia. Early experience with

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CCHANHAN 31553155 Book.inddBook.indd 16-1716-17 11/2/08/2/08 13:48:5113:48:51 the BBC led to a wider involvement with his Cantelli, and Carlo Wozzeck, Don Giovanni, The Elixir of Love, conducting Così fan tutte, following it in 1998 own singers and in turn to the establishment of Maria Giulini. It continues to engage world- Lucia of Lammermoor, Faust, Carmen, Aida, with the world premiere of Jonathan Dove’s the Geoffrey Mitchell Choir. Early recordings class conductors and soloists, and attracts La Bohème, Madam Butterfl y, Turandot, Flight. resulted in the Choir’s long-term involvement Europe’s most talented young players to join its the award-winning Tosca and solo recital He is a frequent visitor to Spain where he with Opera Rara for which it has made over orchestral ranks. of operatic arias with Bruce Ford, has given concerts with most of the major thirty recordings. The Choir is enjoying a Resident Orchestra at the Royal Festival , Dennis O’Neill, Alastair Spanish orchestras. He conducted the Spanish growing reputation with further work from Hall, it maintains a central position in British Miles, Yvonne Kenny and John Tomlinson. premiere of in Madrid and in the BBC and international record companies. musical life also through regional residencies The Philharmonia Orchestra continues to 1996 the fi rst Spanish production of For Chandos the Geoffrey Mitchell Choir has which provide an ideal opportunity to expand consolidate its international renown through The Rake’s Progress. He has appeared in participated in numerous recordings in the a dynamic educational and community-based regular tours and through prestigious Germany, Switzerland, and The Netherlands, acclaimed Opera in English series sponsored by programme. Winner of numerous awards, it residencies at the Châtelet Théâtre Musical in at the Pesaro Festival in Italy, the Hong Kong the Peter Moores Foundation. has garnered unanimous critical acclaim for its , the Megaron in Athens and the Lincoln International Festival, in Japan with a tour innovative programming policy, at the heart Center for the Performing Arts in New York. of Carmen, and in Mexico with the UNAM One of the world’s great orchestras, the of which is a commitment to performing and Symphony Orchestra. Recent new productions Philharmonia Orchestra is now in its commissioning new music by today’s leading David Parry studied he has conducted include Fidelio at the New eleventh season with renowned German composers. with Zealand Festival, Lucia di Lammermoor at maestro Christoph von Dohnányi as Principal An increasing number of the Orchestra’s and began his career New Israeli Opera and Don Giovanni at Conductor. That post was fi rst held by Otto concerts are being broadcast by BBC Radio 3, as Sir John Pritchard’s Staatsoper Hannover. Klemperer, and the Orchestra has since had including its annual performance at the BBC assistant. He made his His work in the recording studio includes important collaborations with Lorin Maazel (as Proms. As the world’s most recorded symphony debut with English the BBC Television production of Marschner’s Associate Principal Conductor), Riccardo Muti orchestra, with over 1000 releases to its credit, Music Theatre, Der Vampyr and more than thirty complete (as Principal Conductor and Music Director), among these a number of television and feature then became a staff opera recordings under the sponsorship of Giuseppe Sinopoli (as Music Director) and, fi lm soundtracks, the Philharmonia Orchestra conductor at Städtische the Peter Moores Foundation. Among these currently, Kurt Sanderling (as Conductor enjoys a worldwide reputation. The discography Bühnen, Dortmund are numerous discs for the Opera Rara label Emeritus), (as Conductor includes, for Opera Rara, several recital discs and at . He was Music Director which have won several awards, including the Laureate) and Sir (as as well as numerous complete operas, and of Opera 80 from 1983 to 1987 Opera North Belgian Prix Cecilia for Donizetti’s Rosmonda Principal Guest Conductor), besides such for Chandos, in the Opera in English series and appears regularly with the Philharmonia d’Inghilterra. For Chandos he has conducted eminent fi gures as Wilhelm Furtwängler, sponsored by the Peter Moores Foundation, and London Philharmonic Orchestras. In 1996 a series of recitals of operatic arias – with Richard Strauss, , Guido The Marriage of Figaro, The Thieving Magpie, he made his debut at the Glyndebourne Festival Sir Thomas Allen, Jennifer Larmore, Bruce

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CCHANHAN 31553155 Book.inddBook.indd 18-1918-19 11/2/08/2/08 13:48:5213:48:52 Ford, Alan Opie, Diana Montague, Dennis , The Elixir of Love, Lucia of Sir Thomas Allen in the title role of O’Neill, Alastair Miles, Yvonne Kenny, John Lammermoor, Ernani, Il trovatore, Aida, The Royal Opera’s production of Tomlinson, Barry Banks, Della Jones and Faust, Cavalleria rusticana, Pagliacci, Don Giovanni Andrew Shore – as well as Nabucco, Fidelio, La Bohème, Turandot, the award-winning The Flying Dutchman, The Marriage of Figaro, Tosca and highlights from , A Masked Ball, Idomeneo, Carmen, all in association with the Peter Moores The Thieving Magpie, Don Giovanni, Foundation. © Clive Barda /ArenaPal Barda © Clive

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CCHANHAN 31553155 Book.inddBook.indd 20-2120-21 11/2/08/2/08 13:48:5313:48:53 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 fulfi ll 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 millions of pounds to a wide variety of arts, environmental and social causes ‘to get things In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in 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 world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘fi rst-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all , Sir and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. 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 Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, scholarships awarded through the Royal Northern College of Music, has made it possible Oxford. He was a student at the Vienna Academy of Music, where he produced the Austrian for Chandos Records to issue the world’s largest catalogue of operas recorded in English premiere of ’s The Rape of Lucretia, and at the same time was an assistant translation, and enabled Opera Rara to record rare repertoire which would producer with the Vienna State Opera, working with Viennese artists in Naples, Geneva and otherwise remain inaccessible to the general public. Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a In live performance, the Foundation has encouraged the creation of new work and schemes director until 1993. to attract new audiences, fi nanced the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera companies and He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment charitable services to the arts.

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CCHANHAN 31553155 Book.inddBook.indd 22-2322-23 11/2/08/2/08 13:48:5813:48:58 die sich je nach Lage der Dinge nach oben ist fast so selten wie der genuine Bass und Große Opernarien oder nach unten strecken müssen. wesentlich rarer als die leichteren Spielarten Auch kann als ziemlich sicher gelten, des Tenors. Vor allem in Italien, früher die Dieses Recital von Thomas Allen gehört tiefgreifende Unterschiede. dass der durchschnittliche Bariton, der im Domäne dieser Stimmlage, ist der Nachwuchs zu einer Serie von Opern-Recitals, die – selbst In Mozarts Werken wird der Bariton Chorverein den Bass singt, an den Ansprüchen heute alarmierend selten geworden. wiederum Teil der ständig wachsenden nirgendwo spezifi sch genannt. Don Giovanni eines Amateurs gemessen die in diesem Mozarts erster Figaro war 1786 in Wien Reihe von Opern in englischer Sprache – so zum Beispiel verteilt die männlichen Rollen Recital zu Gehör gebrachten Mozart-Arien der Italiener Francesco Benucci, der immer disponiert ist, dass jede Ausgabe sich einem auf einen Tenor und vier Bässe. Dass damit durchaus erfolgreich bewältigen würde als Bass beschrieben worden ist – gelegentlich eigenen Stimmentyp widmet in der Absicht, unterschiedliche Stimmentypen gemeint (und er mag Figaros für den jungen mit dem Zusatz buffo oder komisch. Mozart dessen spezifi schen Charakter vorzustellen und sind, ist offensichtlich, doch ist dieser Rekruten als erprobtes Partystück in seinem charakterisiert seine Stimme in einem zugleich sein Repertoire zu erkunden. Hier Unterschied nicht so groß; häufi g singen persönlichen Repertoire haben); mit Verdi Brief als “außergewöhnlich gut”, und diese ist es der lyrische Bariton, und das Programm professionelle Bassisten die Rolle des Leporello wird er jedoch kaum auf solch vertrautem Fuß Zustimmung muss sich auch allgemein auf konzentriert sich auf zwei Komponisten, deren und manchmal sogar die von Don Giovanni stehen. Hier könnte er sich höchstens eine Benuccis künstlerische Qualitäten bezogen Oeuvre für diese Stimmlage von zentraler selbst. Ähnlich ist in der Hochzeit des Figaro wunde Kehle holen. Er mag die Seiten einer haben, da er ihm 1788 auch die Rolle des Bedeutung ist. Die Gattung der Oper kann die Verwendung einer Bassstimme für den Komposition von Verdi durchblättern – etwa Leporello in der überarbeiteten Wiener heute auf eine vierhundertjährige Geschiche Figaro alles andere als ungewöhnlich (so die Baritonstimme in dem Duett aus Premiere von Don Giovanni und zwei Jahre zurückblicken und in dieser Zeit haben sich sangen zum Beispiel der große Ezio Pinza La traviata – und dabei keine einzige Note später die des Guglielmo in der ersten Stile, Anforderungen und Techniken gewndelt. und dessen Nachfolger Cesare Siepi häufi g fi nden, die an einem guten Tag seinen Inszenierung von Così fan tutte antrug. Dies Von allen männlichen Stimmen ist der Bariton diese Rolle) und oft wird für diese Partie Stimmumfang überschreitet; aber die Tücke führt zu der Frage, um was für eine Stimme wohl am konstantesten geblieben, da er der auch eine weitere Zwischenkategorie gewählt liegt in der Häufung der gefährlich hoch es sich genau handelte, denn Guglielmos normalen Sprechstimme am nächsten kommt. – die des Bass-Baritons. Der Bariton selbst liegenden Noten und darin, wie sehr von dieser Partie ist recht hoch und seine Stimme von Trotzdem haben sich die Erwartungen an den wird ebenfalls häufi g für eine Zwischenlage Baritonstimme erwartet wird, dass sie sich in leichter, lyrischer Qualität, während Leporellos Komponisten wesentlich gewandelt, und die gehalten; zu dieser Ansicht zwingt uns unsere diesen Regionen dauerhaft aufhält. Was sich Stimme sich dem typischen Bass annähert Sänger haben sich entsprechend umgewöhnen Chortradition, wo der vierstimmige Satz zwischen Mozart und Verdi geändert hat, ist (seine Notenzeile liegt immer unter der von müssen. Zwischen der Zauberfl öte (1791), auf Sopran, Alt, Tenor und Bass verteilt ist. zum einen, dass die “Tessitura” oder “Lage” der Don Giovanni) und es sich hier eher um eine Mozarts letztem komischen Meisterwerk, und Offi ziell haben unsere Chöre keine Baritone Rollen um mindestens einen Ton angestiegen Charakterrolle handelt. Verdis Falstaff (1893) liegt wenig mehr als ein in ihren Rängen. Wie wir wissen, gestaltet sich ist. Hinzu kommt, dass heute größere Vom ersten Don Giovanni, Luigi Bassi, Jahrhundert, doch in Bezug auf die jeweiligen die Realität aber so, dass einige “Tenöre” und Stimmstärke, Resonanz und dramatische Kraft haben wir zumindest eine aus dem Jahr 1800 Anforderungen an die Singstimme bestehen die meisten “Bässe” eigentlich Baritone sind, erwartet werden. Der echte Verdi-Bariton stammende Beschreibung seiner Stimme als

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CCHANHAN 31553155 Book.inddBook.indd 24-2524-25 11/2/08/2/08 13:48:5813:48:58 “zwischen Tenor und Bass liegend”; zugleich und gelegentlich auch Sänger. Zweifellos zu sein – obwohl seine Musik für Bariton in Don Carlos, und Antonio Pini-Corsi, der in fällt auf, dass das Wort “Bariton”, obwohl es schuf er die Rolle des Papageno schon in der diese eindeutig voraussetzt. Als seinen ersten der Premiere von Falstaff den Ford sang, sind sich in seiner lateinischen Form bis ins 15. Absicht, sie auch selbst zu übernehmen, und Macbeth, Rigoletto und Germont père wählte uns noch eher im Gedächtnis – zumindest Jahrhundert zurückverfolgen lässt, hier keine Mozart vertonte sie dann sicherlich so, dass er den Franco – Italiener Felice Varesi, von erinnern sich Plattensammler an sie, denn Faure Erwähnung fi ndet. Mozart hörte Bassi in Prag, sie zu seiner Stimme passte – mit einem leicht dem er behauptete, er sei “gegenwärtig der schrieb auch Lieder, so etwa “Les Rameaux” als dieser erst zwanzig Jahre alt war und bereits zu bewältigenden Stimmumfang im mittleren einzige Künstler in Italien, der von seinem und “Crucifi x”, die von Sängern der Ära den Grafen Almaviva in der Hochzeit des Figaro Register und auch stilistisch eher beschränkt, Gesangsstil, seiner Empfi ndsamkeit und auch Caruso geschätzt wurden, und Pini-Corsi sang; er hatte sich innerhalb von nur zwei um keine Fertigkeiten zu verlangen, die nur ein von seiner Erscheinung her die Rolle, die ich machte zahlreiche Aufnahmen, allerdings erst Jahren als Künstler einen Namen gemacht. ausgebildeter Opernsänger besaß. vor Augen habe [die des Macbeth], verkörpern nachdem er die Richtung seiner Laufbahn Die Premiere fand daher noch zusätzlich Verdis Sänger stehen uns zeitlich wesentlich kann”. Verdi gab ihm in einer Reihe von geändert hatte und der beliebteste buffo Italiens Beachtung, weil Don Giovanni von einem näher und sind entsprechend auch viel besser Briefen detaillierte Anweisungen über die geworden war. Faure ist wahrscheinlich der 21-jährigen gesungen wurde. Später sollte dokumentiert. Der berühmteste und beliebteste expressiv – dramatischen Anforderungen der Bariton, der die meisten Rollen “geschaffen” Bassi erzählen, wie Mozart seine Sänger zum unter seinen Baritonen, der aus Frankreich Rolle, wobei er immer wieder betonte, dass hat, darunter Nélusko in L’Africaine und die Improvisieren ermutigte (solange sie mit dem gebürtige Victor Maurel, ist sogar bereits auf der Sänger vor allem anderen dem Dramatiker Titelrolle in Thomas’ Hamlet (1868). Er soll Orchester harmonierten) und dass er auf Bassis Grammophon-Platten zu hören, auf denen und seinem Text verpfl ichtet sei. Gelegentlich ein ausgezeichneter Sänger gewesen sein, mit Vorschlag hin das Duett zwischen Giovanni er Soli aus seinen beiden berühmtesten wird Varesi vorgeworfen, er habe zu dem einer Stimme von hoher Qualität, die er mit und Zerlina (“Là ci darem la mano”) nicht Verdi-“Schöpfungen” singt – den Iago aus Debakel der Premiere von La traviata (1853) Gleichmaß und Intelligenz einsetzte. Wenn weniger als fünfmal umschrieb. 1815 sang Otello (1887) und die Titelrolle aus Falstaff einiges beigetragen oder zumindest dem man an ihn aber vor allem als an den “Schöpfer” er seine berühmteste Rolle ein weiteres Mal, (1893). Maurel wurde besonders als singender Werk gegenüber eine abwertende Haltung von Verdis Rodrigo denkt, mag man überrascht diesmal unter der Leitung von Carl Maria von Schauspieler verehrt, und die Aufnahmen eingenommen. Anscheinend hielt er angesichts sein zu erfahren, dass sein bevorzugtes cheveau Weber. von seiner Arbeit auf der Bühne (aus dem seiner früheren Triumphe die Rolle des älteren de bataille Gounods Mephistopheles war. Über den ersten Leporello, Felice Ponziani, Jahr 1907) vermitteln kaum einen adäquaten Germont für seiner unwürdig. Er maß den Eine aus diesem kurzen Überblick der ist kaum etwas bekannt; Emanuel Schikaneder Eindruck. Die Stimme selbst scheint weder von Status einer Rolle an der Zahl der Arien und Premierensänger erwachsende Beobachtung ist, hingegen, der erste Papageno, ist heute noch ihrem noch von ihrem Volumen her fand “Di Provenza” und die Cabaletta in dass, obwohl diese mit Rollen in Verbindung ein so geläufi ger Name und eine so lebhaft für besonders bemerkenswert gehalten worden dieser Hinsicht unzureichend. An einem der gebracht wurden, die allgemein unter die gegenwärtige Persönlichkeit, dass er kaum zu sein, und auch ihr oberer Stimmumfang war schönsten Duette Verdis teilzuhaben war ihm Rubrik “Bariton” fallen, sie doch eigentlich des Kommentars bedarf. Er war in jeder keinesfalls außergewöhnlich. anscheinend nicht Kompensation genug. bemerkenswert unterschiedlich waren. Dies Hinsicht ein Mann des Theaters – Autor, Allerdings scheint Verdi an diesen Qualitäten Den Namen Varesi hört man heute nur noch trifft allerdings auch auf unser hier vorgestelltes Direktor, Impresario, Schauspieler, Tänzer auch nicht besonders interessiert gewesen selten. Jean-Baptiste Faure, der erste Rodrigo Programm zu; Gounods Mephistopheles

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CCHANHAN 31553155 Book.inddBook.indd 26-2726-27 11/2/08/2/08 13:48:5913:48:59 gehört zwar nicht dazu, wohl aber Leporellos wechseln die Soli mit längeren Auszügen, und zur Vaterfi gur wird (Band 8 ). Innerhalb Sir Thomas Allen wurde in Seaham (County Katalogarie (Band 6 ), der Favorit einer ganzen Duetten und Ensembles ab. Damit werden von nur knapp zwanzig Minuten wendet sich Durham) geboren und gab sein Debüt als Reihe von Bässen, die von Chaliapin über zweierlei Absichten verfolgt: Zum einen ist das Schicksal jedoch, wobei der Wendepunkt Berufssänger an der . Kipnis und Christoff bis hin zu Samuel Ramey die hier vorgestellte Stimme genau wie in der aus einer einzigen leisen Note besteht, von Heute ist er an allen großen Opernhäusern reichen. Mit Fords Monolog in Falstaff (Band Oper im Wechselspiel mit anderen zu hören, deren Aufl ösung die lebenswichtige und der Welt etabliert. Alleine an der Royal 3 ) erweitert Sir Thomas seine lyrische Stimme, zum anderen wird die Sammlung in ihrer zugleich tragische Entscheidung abhängt. In Opera Covent Garden, wo er 2006 sein um auch den eher deklamatorischen Stil des Gesamtheit verständlicher. In der Zauberfl öte Don Carlos ist der Duettpartner des Bariton der fünfunddreißigjähriges Jubiläum feierte, hat späten Verdi zu bedienen. Und in trifft Papageno der Vogelfänger die Heldin Tenor; dieses Mal aber erheben sich die beiden er mehr als vierzig Rollen verkörpert. 2006 der “Zugabe”, Kurt Weills “Septemberlied” Pamina zu einem Zeitpunkt, als sie beide Stimmen nicht, wie in dieser Kombination beging er auch sein fünfundzwanzigigjähriges (Band 14 ) erweitert er sie noch einmal, allein sind, aber eigentlich nicht allein sein üblich, in Feindschaft sondern freundschaftlich. Jubiläum an der Metropolitan Opera New allerdings in einer ganz anderen Richtung. möchten (Band 9 ). Die Liebe zwischen Mann Sie leisten ihren gegenseitigen Treueschwur, York. Von der Lyric Opera of Chicago, Diese allgemein bekannte Melodie hat übrigens und Frau, so fi nden sie beide, ist das Ideal, indem sie ihr soldatisches Gebet an den “Gott, San Francisco Opera und Los Angeles einen gar nicht so bekannten Ursprung. Sie ist das sie warmherzig, doch ohne Leidenschaft der uns zusammengebracht” singen (Band Opera, der Bayerischen Staatsoper und der direkt der 1938 in New York inszenierten Show kontemplieren. Sein zweites Duett ist von 4 ); dieser Schwur wird in der Gefängnisszene Mailänder Scala, den Salzburger Festspielen Knickerbocker Holiday entnommen. Diese reinster Freude erfüllt: Papageno hat seine in tragischer Weise erfüllt – Rodrigo opfert und dem Glyndebourne Festival ist er nicht hatte wiederum eine unvollendete satirische Papagena gefunden (Band 13 ). Zwischen diesen sein Leben, damit Carlos die Freiheit gewinnt fortzudenken. Operette mit dem Titel Der Kuhhandel (1934) beiden Duetten muss Papageno – wie auch (Band 12 ). Die Musik, die Verdi in dieser Besonders berühmt ist er für Leibrollen beliehen, welche – in die englische Sprache Pamina – eine dunkle Stunde durchleben, in Szene für Rodrigo schrieb, zählt zu dem wie Billy Budd, Pelléas, Eugen Onegin, Ulisse übertragen – 1935 als A Kingdom for a Cow der der Tod die einzige Lösung zu sein scheint. Menschlichsten und Empfi ndungsreichsten, und Beckmesser sowie die großen Mozart- im Londoner Savoy Theatre eine kurze Pamina wird von ihrem Geliebten gerettet, das er je geschrieben hat. Und wie wir sehen, Partien des Grafen Almaviva, Don Alfonso, Laufzeit hatte. Das “Septemberlied” wurde Papageno von den drei Knaben, die die vom schrieb er diese Musik für Bariton. Der Papageno, Guglielmo und natürlich Don in seiner ursprünglichen amerikanischen Himmel gesandte Sprache der Vernunft Publikumsgeschmack scheint diktiert zu haben, Giovanni. Unlängst war er u.a. Eisenstein Vorkriegsaufnahme berühmt, und zu unserer sprechen und rechtzeitig eine Lösung andeuten. dass der Held gewöhnlich ein Tenor sein sollte; (Die Fledermaus), Don Alfonso, Ulisse und Liste von Premierensängern gesellt sich nun Von Verdis La traviata haben wir zunächst es will jedoch scheinen, als wäre er mindestens Don Giovanni an der Bayerischen Staatsoper, noch der fast stimmlose (doch eben darum eines der schönsten in der langen Reihe von ebenso häufi g ein Bariton gewesen, hätte Verdi Jeletski (Pique Dame), Sharpless (Madama unvergessliche) Walter Houston. Duetten, die der Komponist für Bariton und nur seinen Vorlieben folgen können. Butterfl y) und Sweeney Todd an der Royal Schließlich gibt es in unserem Programm Sopran schrieb – häufi g für Vater und Tochter, Opera Covent Garden, Eisenstein beim noch eine andere Art von Abwechslung. Wie hier für Germont père und Violetta, einen, der © 2008 John Steane Glyndebourne Festival, Don Alfonso bei den schon in früheren Ausgaben dieser Reihe als Feind erscheint (obwohl auch er Vater ist) Übersetzung: Stephanie Wollny Salzburger Oster- und Sommerfestspielen,

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CCHANHAN 31553155 Book.inddBook.indd 28-2928-29 11/2/08/2/08 13:48:5913:48:59 Förster (Das schlaue Füchslein) an der San Universität Durham. 1989 erhielt er den bereits im elften Jahr unter der Leitung zahlreichen Preisen ausgezeichnet worden Francisco Opera und Beckmesser und Don britischen Verdienstorden CBE, und 1999 seines berühmten deutschen Chefdirigenten und hat beispiellose kritische Unterstützung Alfonso an der Metropolitan Opera New wurde er von Königin Elizabeth II. in den Christoph von Dohnányi. Er setzt eine für seine innovative Programmpolitik York. Adelsstand erhoben. Tradition fort, die mit gewonnen, die in ihrem Kern der Bestellung Als ebenso berühmter Konzertkünstler begann und über Lorin Maazel (Erster und Darbietung neuer Musik von führenden tritt er regelmäßig in ganz Europa, Australien Geoffrey Mitchells Gesangskarriere hat ihm Gastdirigent), Riccardo Muti (Chefdirigent Komponisten unserer Zeit verpfl ichtet ist. und Amerika auf, gemeinsam mit den großen ein bemerkenswert breitgefächertes Repertoire und Musikalischer Leiter), Giuseppe Sinopoli Die Konzerte des Orchesters werden Orchestern und Dirigenten der Welt. Den von der alten bis zur neuen Musik beschert (Musikalischer Leiter) bis zu Kurt Sanderling immer häufi ger von BBC Radio 3 größten Teil seines Repertoires hat er mit und ihn nach Skandinavien, Deutschland, (Emeritierter Dirigent), Vladimir Ashkenazy übertragen, nicht zuletzt im Rahmen der Spitzendirigenten wie Georg Solti, James in die ehemalige Tschechoslowakei, nach (Ehrendirigent) und Sir Charles Mackerras jährlichen BBC Proms. Mit über 1000 Levine, Neville Marriner, Bernard Haitink, Kanada und Australasien geführt. Nachdem (Hauptgastdirigent) führt, aber auch die Schallplattenaufnahmen verfügt das Sir Simon Rattle, und er bei der BBC erste Dirigiererfahrungen Zusammenarbeit mit Wilhelm Furtwängler, Philharmonia Orchestra über die größte Riccardo Muti auf Schallplatte aufgenommen. gesammelt hatte, begann er mit eigenen Richard Strauss, Arturo Toscanini, Guido Orchesterdiskographie der Welt, die auch Thomas Allens erstes Buch, Foreign Parts – Sängern zu arbeiten und gründete den Cantelli, Herbert von Karajan und Carlo Fernseh- und Filmmusik beinhaltet, und A Singer’s Journal, wurde 1993 veröffentlicht, Geoffrey Mitchell Choir. Aus ersten Maria Giulini einbezog. Das Orchester genießt weltweit höchstes Ansehen. Das und in 2003 mit Albert Herring hat er am Aufnahmen entwickelte sich eine langfristige verpfl ichtet weiterhin Gastdirigenten und Orchester hat für Opera Rara mehrere Royal College of Music einen triumphalen Zusammenarbeit des Chors mit Opera Solisten von Weltrang, während einige der Recitals sowie dreizehn komplette Opern Einstand als Regisseur gefeiert. Er hat auch Rara, für die er über dreißig Tonträger größten europäischen Nachwuchstalente in eingespielt und in der Reihe “Opera in Don Giovanni und Così fan tutte at der Sage, aufgenommen hat. Der Chor genießt seine Reihen aufgenommen werden. English” für Chandos mit Unterstützung Gateshead regiert. Neben vielen anderen wachsendes Ansehen und ist bei der BBC und Das Philharmonia Orchestra ist in der durch die Peter Moores Foundation The Ehrungen trägt er den Titel eines Bayerischen internationalen Plattenfi rmen gefragt. Für Royal Festival Hall ansässig und nimmt Marriage of Figaro, The Thieving Magpie, Kammersängers, er ist Ehrenmitglied der Chandos hat der Geoffrey Mitchell Choir an eine zentrale Position im Musikleben Wozzeck, Don Giovanni, The Elixir of Love, , Prince Consort zahlreichen Aufnahmen der hervorragend Großbritanniens ein, nicht nur durch seine Lucia of Lammermoor, Faust, Carmen, Aida, Professor am Royal College of Music, Hambro kritisierten Reihe Opera in English unter Londoner Konzerte, sondern auch durch feste La Bohème, Madam Butterfl y, Turandot, Gastprofessor für Opernstudien an der der Schirmherrschaft der Peter Moores Kontakte mit Aufführungsstätten in anderen die preisgekrönte Tosca und Opernarien in Universität Oxford, Fellow am Jesus College Foundation teilgenommen. Teilen des Landes, die eine ideale Gelegenheit Solorecitals mit Bruce Ford, Diana Montague, Oxford, am Royal College of Music und an für die Erweiterung seines dynamischen und Dennis O’Neill, Alastair Miles, Yvonne der Universität Sunderland, Ehrenmagister der Das Philharmonia Orchestra, eines der bevölkerungsnahen musikpädagogischen Kenny und John Tomlinson aufgenommen. Universität Newcastle und Ehrendoktor der großen Orchester der Welt, steht nun Programms bieten. Das Orchester ist mit Das Philharmonia Orchestra untermauert

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CCHANHAN 31553155 Book.inddBook.indd 30-3130-31 11/2/08/2/08 13:49:0113:49:01 seinen internationalen Rang durch Orchestern Konzerte gegeben. In Madrid O’Neill, Alastair Miles, Yvonne Kenny, John The Elixir of Love, Lucia of Lammermoor, regelmäßige Tourneen und Gastauftritte hat er die spanische Uraufführung von Tomlinson, Barry Banks, Della Jones und Ernani, Il trovatore, Aida, Faust, Cavalleria an berühmten Häusern wie dem Châtelet Peter Grimes dirigiert, und 1996 die erste Andrew Shore), außerdem Nabucco, Fidelio, rusticana, Pagliacci, La Bohème, Turandot, die Théâtre Musical in Paris, dem Megaron spanische Inszenierung von The Rake’s The Flying Dutchman, The Marriage of Figaro, preisgekrönte Tosca und Highlights aus dem in Athen und dem for the Progress. Er ist in Deutschland, der Schweiz A Masked Ball, Idomeneo, Carmen, The Rosenkavalier, jeweils in Zusammenarbeit mit Performing Arts in New York. und den Niederlanden aufgetreten, bei den Thieving Magpie, Don Giovanni, Don Pasquale, der Peter Moores Foundation. Festspielen in Pesaro, beim Hong Kong David Parry hat bei Sergiu Celibidache studiert International Festival, in Japan anläßlich und seine berufl iche Laufbahn als Assistent von einer Carmen-Tournee und in Mexiko mit Sir John Pritchard begonnen. Er hat am English dem UNAM Symphony Orchestra. Zu Music Theatre debütiert und wurde dann den Neuproduktionen, die er in letzter Dirigent mit Festvertrag an den Städtischen Zeit dirigiert hat, zählen Fidelio beim New Bühnen Dortmund und an der Opera North. Zealand Festival, Lucia di Lammermoor an der Von 1983 bis 1987 war er Musikdirektor der New Israeli Opera und Don Giovanni an der Opera 80 und seit 1992 Gründungsmitglied Staatsoper Hannover. und Direktor der Almeida Opera. Seine Tätigkeit im Aufnahmestudio umfaßt Er übt in Großbritannien und international die Produktion von Marschners Der Vampyr eine weitgespannte Tätigkeit in den Bereichen fürs BBC-Fernsehen und achtundzwanzig Oper und Konzert aus, hat mehrere vollständige Opernaufzeichnungen unter Produktionen der der Schirmherrschaft der Peter Moores und der Opera North dirigiert und tritt Foundation. Darunter befi nden sich regelmäßig mit dem Philharmonia Orchestra zahlreiche Aufnahmen der Reihe Opera und dem London Philharmonic Orchestra auf. Rara, die mehrere Preise gewonnen haben, 1996 gab er sein Debüt beim Glyndebourne beispielsweise den belgischen Prix Cecilia Festival mit Così fan tutte und hat dort 1998 für Donizettis Rosmonda d’Inghilterra. Für die Uraufführung von Jonathan Doves Flight Chandos hat er die Aufzeichnung einer Serie geleitet. von Programmen mit Opernarien geleitet (mit Er ist häufi g in Spanien zu Gast und hat Sir Thoms Allen, Jennifer Larmore, Bruce mit den meisten bedeutenden spanischen Ford, Alan Opie, Diana Montague, Dennis

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CCHANHAN 31553155 Book.inddBook.indd 32-3332-33 11/2/08/2/08 13:49:0113:49:01 On session: Sir Thomas Allen and Susan Gritton On session: Sir Thomas Allen

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CCHANHAN 31553155 Book.inddBook.indd 34-3534-35 11/2/08/2/08 13:49:0213:49:02 satisfaisante les arias de Mozart enregistrées toujours décrit comme une basse avec parfois Grands airs d’opéra dans ce récital (voire l’air de Figaro pour le l’addition buffo ou comique. Dans une de jeune nouveau membre comme numéro bien ses lettres, Mozart mentionne que sa voix est Ce récital de Sir Thomas Allen est l’un d’une compositeur avait à l’esprit différents types de répété), mais il y a peu de chance qu’il serait en “exceptionnellement bonne”, et ce compliment série faisant partie d’un catalogue grandissant voix, mais la distinction n’est pas grande au aussi bons termes avec Verdi. Le résultat le plus devait s’étendre à une plus grande estime de d’opéras chantés en anglais, et destinée à point que les véritables basses à plein temps ne probable dans ce cas serait un mal de gorge. ses qualités d’artiste puisqu’il lui confi a le mettre l’accent sur une voix spécifi que dans puissent chanter souvent le rôle de Leporello Il peut consulter les pages d’une partition de rôle de Leporello lors de la première de la le but d’illustrer son caractère et d’explorer et parfois celui de Don Giovanni. De la même Verdi – la partie de baryton dans le duo de version révisée de Don Giovanni à Vienne en son répertoire. Ici, la voix est celle du baryton manière, il n’est pas rare qu’une basse tienne le La traviata, par exemple – et constater 1788 et celui de Guglielmo lors de la création lyrique, et le programme se concentre sur deux rôle de Figaro dans Le nozze di Figaro (le grand qu’aucune note ne dépasse son étendue vocale de Così fan tutte deux ans plus tard. Ceci compositeurs dont l’œuvre lui est centrale. Ezio Pinza et son successeur Cesare Siepi, par (un jour de forme); mais ce qui apparaîtra appelle d’autres questions concernant le type L’opéra possède aujourd’hui une histoire de exemple, chantèrent fréquemment ce rôle), est la fréquence des notes se trouvant de sa voix, car la musique de Guglielmo est quatre cents ans, apportant des changements et très souvent le Figaro appartient à cette dangereusement près du registre aigu, et relativement élevée, légère et lyrique sur le sur le plan du style, des exigences et des catégorie intermédiaire, le basse-baryton. Le le degré auquel cette voix de baryton est plan du caractère vocal, tandis que celle de pratiques. De toutes les voix d’homme, celle baryton est communément considéré comme supposée être parfaitement à l’aise dans ces Leporello est plus proche d’une véritable basse de baryton est probablement la plus constante une voix intermédiaire: nous sommes habitués régions. Ce qui a changé entre Mozart et Verdi (sa portée est toujours écrite sous celle de puisqu’elle est la plus proche de la voix à accepter cette notion en raison de notre est, premièrement, que la tessiture du rôle Don Giovanni) et davantage dans l’esprit d’un parlée normale. Malgré cela, les attentes des tradition chorale dans laquelle la musique à s’est élevée d’un ton et peut-être davantage. rôle de composition. compositeurs ont considérablement changé, quatre parties est écrite pour soprano, alto, À cela s’ajoute l’exigence d’une puissance, On possède une description de la voix du et les chanteurs ont dû s’adapter. La distance ténor et basse. Offi ciellement, nos chorales d’une résonance et d’une force dramatique premier Don Giovanni, Luigi Bassi, datant entre Die Zauberfl öte (1791), le dernier chef- n’ont pas de baryton parmi leurs rangs. La supplémentaires. Le vrai baryton verdien est de 1800 comme étant “placée entre ténor et d’œuvre comique de Mozart, et Falstaff de réalité est que certains “ténors” et la plupart des presque aussi rare qu’une basse authentique basse”, et on notera que le terme de “baryton”, Verdi (1893) est d’à peine plus d’un siècle, “basses” sont en fait des barytons, encouragés à et encore plus que les variétés de ténors plus qui sous sa forme latine remonte au quinzième mais sur le plan de ce qu’ils exigent de la voix, pousser leur registre vers le haut ou vers le bas légers. Aujourd’hui, en particulier en Italie, siècle, ne semble pas avoir été considéré. la différence est profonde. selon le cas. autrefois la source principale, le nombre Mozart entendit Bassi à Prague quand il n’avait Dans ses partitions, Mozart ne mentionne Il est également à peu près certain que le de barytons semble diminuer de manière que vingt ans dans le rôle du Comte Almaviva nulle part la voix de baryton. Don Giovanni, baryton moyen tenant la partie de basse de inquiétante. dans Le nozze di Figaro: il s’était imposé au par exemple, distribue les rôles masculins entre nos sociétés chorales pourrait, à un niveau Le Figaro original de Mozart à Vienne cours des deux années précédentes comme un ténor et quatre basses. Il est clair que le amateur, essayer de manière raisonnablement en 1786 était l’Italien Francesco Benucci, un artiste très apprécié. La création gagna

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CCHANHAN 31553155 Book.inddBook.indd 36-3736-37 11/2/08/2/08 13:49:0513:49:05 donc une distinction supplémentaire avec la concernant sont plus nombreuses. Parmi ses est parfois soupçonné d’avoir contribué au (1868). Faure était semble-t-il un chanteur prestation d’un Don Giovanni de vingt et barytons, le Français Victor Maurel était le fi asco de la création de La traviata (1853), très remarquable, possédant un beau timbre de un ans. Des années plus tard, Bassi raconta plus célèbre et le plus favorisé de tous. Il existe ou du moins d’avoir participé à l’état d’esprit voix produit de manière égale et intelligente. comment Mozart encourageait ses chanteurs même des enregistrements phonographiques du “je vous l’avais bien dit” envers celui-ci. Cependant, si l’on songe à lui comme le à improviser (à condition de toujours rester de plusieurs de ses solos extraits de ses deux Apparemment, il estimait être mal servi, après “créateur” du Rodrigo de Verdi, il est peut- en contact avec l’orchestre), et que sur sa “créations” les plus fameuses: Iago dans Otello ses triomphes précédents, par le rôle du vieux être surprenant d’apprendre que son cheval suggestion le compositeur récrivit cinq fois (1887) et Falstaff (1893). Il était très admiré Germont. Mesurant le prestige d’un rôle dans de bataille préféré était le Méphistophélès de le duo entre Don Giovanni et Zerlina (“Là ci comme chanteur acteur, malheureusement les arias, il estimait que “Di Provenza il mar” Gounod. darem la mano”). En 1815, Bassi interpréta ses enregistrements (réalisés en 1907) nous et la cabalette étaient une pauvre contribution. Une observation se dégage de ce bref de nouveau son rôle le plus célèbre, sous la renseignent bien peu sur sa prestation sur Partager la moitié de l’un des plus admirables panorama d’interprètes “originaux”: si on se direction de Carl Maria von Weber. scène. Sa voix ne semble jamais avoir été duos de Verdi était clairement une médiocre souvient d’eux aujourd’hui en raison de leur Si on sait peu de chose du premier Leporello, considérée comme étant remarquable pour sa compensation. association avec des rôles communément Felice Ponziani, en revanche Emanuel richesse ou son volume, ni pour un registre Le nom de Varesi est rarement mentionné qualifi és de “baryton”, ils étaient en fait Schikaneder, le premier Papageno, demeure aigu particulièrement étendu. de nos jours. Jean-Baptiste Faure, le premier remarquablement variés. Mais cela est si familier comme nom et si vivant comme Mais Verdi – dont l’écriture pour baryton Posa dans Don Carlos, et Antoni Pini-Corsi, également vrai du présent programme; le personnage qu’il semble presque inutile exige indubitablement ces qualités – ne semble qui chanta le rôle de Ford dans la création de Méphistophélès de Gounod n’a certes pas sa d’apporter un commentaire. C’était un homme jamais avoir été particulièrement intéressé par Falstaff, sont plus souvent évoqués, du moins place ici, mais on trouve l’air de Leporello de théâtre complet: auteur, metteur en scène, celles-ci. Pour son premier Macbeth, Rigoletto par les collectionneurs de disques, car Faure faisant la liste des conquêtes de Don Giovanni impresario, acteur, danseur et, accessoirement, et Germont père, il choisit le chanteur composa également des chansons telles que (plage 6 ), un morceau favori de toute chanteur. Il ne fait aucun doute qu’il inventa le franco – italien Felice Varesi qu’il considérait “Les Rameaux” et “Crucifi x” qui furent très une lignée de basses allant de Chaliapine, personnage de Papageno avec l’idée de le chanter comme “le seul artiste aujourd’hui en Italie appréciées par les chanteurs de l’époque de Kipnis et Christoff à Samuel Ramey. Avec le lui-même, et que Mozart écrirait une musique capable de prendre le rôle auquel je songe Caruso, tandis que Pini-Corsi allait réaliser de Monologue de Ford dans Falstaff (plage 3 ), adaptée à sa voix, dans une tessiture confortable [Macbeth] du fait de son style vocal, de sa nombreux enregistrements, mais seulement Thomas Allen étend sa voix lyrique pour placée dans le registre moyen et dans un style sensibilité et également de son apparence”. après avoir changé la direction de sa carrière inclure le style davantage déclamatoire du limité afi n de ne pas nécessiter la technique que Dans plusieurs lettres, Verdi lui donna des et être devenu le buffo préféré des italiens. En Verdi de la dernière période. Et dans le “bis”, seul pouvait posséder un chanteur d’opéra ayant instructions détaillées concernant les exigences effet, Faure détient probablement le record du la “Chanson de Septembre” de Kurt Weill fait de sérieuses études vocales. expressives et dramatiques, soulignant tout plus grand nombre de “créations” de rôles de (plage 14 ), il l’étend encore davantage, mais Les interprètes de Verdi étant beaucoup plus le temps que le premier devoir du chanteur baryton, incluant Nélusko dans L’Africaine et dans une direction complètement différente. proches de notre époque, les informations les est envers le dramaturge et son texte. Varesi le rôle titre dans Hamlet d’ Cette mélodie bien connue possède une origine

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CCHANHAN 31553155 Book.inddBook.indd 38-3938-39 11/2/08/2/08 13:49:0613:49:06 qui l’est moins. Elle suivit immédiatement le (plage 13 ). Entre les deux duos, Papageno et Et on notera qu’il l’écrivit pour baryton. Le Almaviva, Don Alfonso, Papageno, Guglielmo, spectacle Knickerbocker Holiday mis en scène Pamina doivent passer par une période diffi cile goût du public semble avoir dicté qu’en général et bien sûr Don Giovanni. Récemment, à New York en 1938, celui-ci provenant d’une au cours de laquelle la mort semble la seule le héros doit être un ténor; on a parfois le il a chanté Eisenstein (Die Fledermaus), opérette satirique inachevée, Der Kuhhandel solution. Pamina est sauvée par son amant, sentiment qu’il aurait pu être aussi souvent un Don Alfonso, Ulisse et Don Giovanni au (1934) qui avait été brièvement à l’affi che du Papageno par les Trois Génies qui parlent baryton si Verdi avait pu imposer sa volonté. Bayerische Staatsoper; Yeletsky (La Dame de Savoy Theatre de Londres en 1935 dans une la langue du bon sens envoyée du ciel, et Pique), Sharpless (Madama Butterfl y) et le © 2008 John Steane adaptation anglaise intitulée A Kingdom for indiquent un remède opportun. rôle titre de Sweeney Todd au Royal Opera Traduction: Francis Marchal a Cow. La “Chanson de Septembre” devint De Verdi, avec La traviata nous avons de Covent Garden; Eisenstein au Festival de célèbre grâce à l’enregistrement américain d’abord l’un de ses plus remarquables duos Glyndebourne; Don Alfonso au Festival de original datant d’avant la guerre, et dans notre pour baryton et soprano, souvent entre père Né à Seham dans le comté de Durham, Sir Pâques et au Festival estival de Salzbourg; le liste d’“originaux”, il faudrait maintenant et fi lle, ici, entre Germont père et Violetta: Thomas Allen fi t ses débuts professionnels Fôrestier (La Petite Renarde rusée) à l’Opéra de ajouter le presque aphone (mais inoubliable) ici il semble être un ennemi (bien que père avec le Welsh National Opera, et est San Francisco et Beckmesser et Don Alfonso Walter Houston. lui-même) et devient une fi gure paternelle aujourd’hui une star des grandes salles lyriques au Metropolitan Opera de New York. Enfi n, la variété prend une autre forme (plage 8 ). En l’espace d’à peine vingt minutes du monde entier. Au Royal Opera de Covent Également célèbre en concert, il se produit dans ce programme. Comme dans les albums s’effectue un complet renversement de fortune, Garden à Londres, où il a célébré en 2006 le en récital en Grande-Bretagne, à travers précédents, les solos alternent avec de plus le tournant étant la résolution d’une note à trente-cinquième anniversaire de ses débuts l’Europe, en Australie, en Amérique, et a longs extraits, des duos et des ensembles. laquelle est suspendue la décision vitale et avec cette compagnie, il a chanté plus de chanté avec les plus grands orchestres et chefs Deux buts sont obtenus: la voix principale est tragique. Dans Don Carlos, le partenaire en quarante rôles. En 2006, il a également célébré du monde entier. Il a enregistré la plus grande entendue, comme dans les opéras, mélangée duo du baryton est un ténor, et fait inhabituel le vingt-cinquième anniversaire de ses débuts partie de son répertoire avec des chefs aussi avec les autres, et la collection dans son pour une telle combinaison, leurs voix s’élèvent au Metropolitan Opera de New York. Il est éminents que Georg Solti, James Levine, ensemble devient plus complète. Dans non pas en hostilité mais en amitié. Ils se acclamé au Lyric Opera de Chicago, à l’Opéra Neville Marriner, Bernard Haitink, Simon Die Zauberfl öte, Papageno l’oiseleur rencontre jurent fi délité au cours de leur prière militaire de San Francisco, à l’Opéra de Los Angeles, au Rattle, Wolfgang Sawallisch et Riccardo Muti. l’héroïne Pamina à un moment où tous au “Dieu qui nous a réunis” (plage 4 ), et celle- Bayerische Staatsoper de Munich, à La Scala de Le premier livre de Thomas Allen, Foreign deux sont seuls et voudraient ne pas l’être ci est tragiquement mise à l’épreuve lors de la Milan, ainsi qu’au Festival de Salzbourg et au Parts – A Singer’s Journal, a été publié en 1993, (plage 9 ). S’ils s’accordent sur le fait que scène de la prison quand Rodrigo sacrifi e sa vie Festival de Glyndebourne. et en 2003 a fait ses débuts triomphaux de l’idéal est l’amour entre mari et femme, ils pour permettre à Carlos d’être libre (plage 12 ). Il a été particulièrement acclamé pour ses metteur en scène avec Albert Herring au Royal le contemplent chaleureusement mais sans La musique que Verdi composa pour Rodrigo interprétations des rôles de Billy Budd, Pelléas, College of Music de Londres. Il a aussie mis passion. Son autre duo est un morceau de dans cette scène est l’une des plus généreuses Eugène Onéguine, Ulisse et Beckmesser, pour en scène des productions de Don Giovanni et pure joie: Papageno a trouvé sa Papagena et des plus émouvantes de tout le répertoire. les grands rôles mozartiens tels que le Comte Così fan tutte au Sage, Gateshead, dans le nord

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CCHANHAN 31553155 Book.inddBook.indd 40-4140-41 11/2/08/2/08 13:49:0713:49:07 d’Angleterre. Ses nombreux titres honorifi ques il a réalisé plus de trente enregistrements. instrumentistes les plus talentueux d’Europe. Lammermoor, Faust, Carmen, Aïda, incluent le Bayerischer Kammersänger Ce Chœur ne cesse d’élargir sa réputation, Orchestre résident au Royal Festival Hall, La Bohème, Madam Butterfl y, Turandot, une décerné par le Bayerische Staatsoper, le travaillant avec la BBC et plusieurs maisons il joue également un rôle central dans la version primée de Tosca ainsi que plusieurs “Honorary Membership” de la Royal Academy de disques internationales. Pour Chandos, le vie musicale britannique en choisissant des récitals solistes d’airs lyriques avec Bruce Ford, of Music de Londres, le “Prince Consort Geoffrey Mitchell Choir a participé à plusieurs résidences régionales qui sont l’occasion Diana Montague, Dennis O’Neill, Alastair Professor” du Royal College of Music de enregistrements pour Opera in English, une idéale de développer un programme éducatif Miles, Yvonne Kenny et John Tomlinson. Londres, le “Hambro Visiting Professorship série de disques très prisés fi nancée par la Peter dynamique centré sur la communauté. Le Philharmonia Orchestra consolide of Opera Studies” de l’Université d’Oxford, Moores Foundation. Lauréat de nombreux prix, l’ensemble a été constamment sa réputation internationale le “Fellowship” du Royal College of Music salué unanimement par les critiques pour grâce à des tournées régulières et récemment de Londres et de l’Université de Sunderland, Reconnu comme l’un des plus grands ses programmes innovateurs dont l’un des de prestigieuses résidences au Châtelet Théâtre un M.A. de l’Université de Newcastle et un orchestres du monde, le Philharmonia objectifs principaux est l’interprétation et la Musical à Paris, au Megaron à Athènes et au D.Mus de l’Université de Durham. Thomas Orchestra a depuis onze ans le grand maestro commande d’œuvres nouvelles des plus grands Lincoln Center for the Performing Arts à Allen a été créé Commandeur de l’empire allemand Christoph von Dohnányi pour chef compositeurs d’aujourd’hui. New York. britannique (CBE) en 1989, et a été anobli principal. Le premier à avoir tenu ce poste fut Un nombre croissant de concerts de en 1999. Otto Klemperer et l’Orchestre depuis lors a l’Orchestre sont retransmis par BBC Radio 3, Après avoir étudié avec Sergiu Celibidache, collaboré avec succès avec Lorin Maazel (au entre autres sa participation annuelle aux David Parry commença sa carrière comme Durant sa carrière de chanteur, poste de chef principal assistant), Riccardo Promenade Concerts de la BBC. L’orchestre assistant de Sir John Pritchard. Il fi t ses débuts Geoffrey Mitchell aborda un répertoire Muti (chef principal et directeur musical), symphonique le plus enregistré au monde, avec avec l’English Music Theatre avant de devenir remarquablement varié, depuis la musique Giuseppe Sinopoli (directeur musical), une plus de mille disques à son actif, parmi lesquels l’un des chefs d’orchestre au Städtische Bühnen ancienne jusqu’à la musique contemporaine, tradition qui se poursuit aujourd’hui avec Kurt plusieurs bandes originales pour le cinéma et à Dortmund et à Opera North. Directeur se produisant en Scandinavie, en Allemagne, Sanderling (chef émérite), Vladimir Ashkenazy la télévision, le Philharmonia Orchestra est musical d’Opera 80 de 1983 à 1987, il est dans l’ancienne Tchécoslovaquie, au Canada (chef lauréat) et Sir Charles Mackerras (chef réputé dans le monde entier. directeur musical d’Almeida Opera depuis sa et en Australasie. Après avoir fait ses premières principal invité). L’ensemble a également été Sa discographie comprend, pour Opera fondation en 1992. armes de chef d’orchestre avec la BBC, il associé à des personnalités aussi éminentes Rara, plusieurs disques de récitals ainsi que Sa carrière, nationale et internationale, est décida de prendre une part active dans ce que Wilhelm Furtwängler, Richard Strauss, treize intégrales d’opéras et, pour Opera in extrêmement remplie, aussi bien sur la scène domaine avec ses propres chanteurs et fonda Arturo Toscanini, Guido Cantelli, Herbert von English chez Chandos, série fi nancée par lyrique qu’en concert. Il a dirigé plusieurs le Geoffrey Mitchell Choir. Par suite de ses Karajan et . L’Orchestre la Peter Moores Foundation The Marriage productions de l’English National Opera et premiers enregistrements l’ensemble travaille continue à collaborer avec des chefs et des of Figaro, The Thieving Magpie, Wozzeck, de l’Opera North et collabore régulièrement depuis longtemps avec Opera Rara pour qui solistes de stature mondiale et recrute les jeunes Don Giovanni, The Elixir of Love, Lucia of avec le Philharmonia Orchestra et le London

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CCHANHAN 31553155 Book.inddBook.indd 42-4342-43 11/2/08/2/08 13:49:0713:49:07 Philharmonic Orchestra. C’est avec Così Der Vampyr de Marschner, dirigeant aussi Sir Thomas Allen as Ford in fan tutte qu’il fi t ses débuts au Festival de vingt-huit intégrales d’opéras fi nancées par The Royal Opera’s production Glyndebourne en 1996, une scène qu’il la Peter Moores Foundation. Plusieurs de of Falstaff retrouva en 1998 pour diriger la création ces intégrales furent enregistrées pour Opera mondiale de Flight de Jonathan Dove. Rara et primées, Rosmonda d’Inghilterra de

Il séjourne fréquemment en Espagne où Donizetti recevant en Belgique le Prix Cecilia. /ArenaPal Barda © Clive il a dirigé en concert la plupart des grands Pour Chandos, David Parry a dirigé une orchestres espagnols. C’est lui qui dirigea série d’enregistrements d’airs d’opéra (avec la première espagnole de Peter Grimes à Sir Thomas Allen, Jennifer Larmore, Bruce Madrid et en 1996 la première production Ford, Alan Opie, Diana Montague, Dennis espagnole de The Rake’s Progress. Il a dirigé O’Neill, Alastair Miles, Yvonne Kenny, en Allemagne, en Suisse, aux Pays-Bas, John Tomlinson, Barry Banks, Della Jones et au Festival de Pesaro en Italie, au Festival Andrew Shore) de même que Nabucco, Fidelio, international de Hong-Kong, au Japon The Flying Dutchman, The Marriage of Figaro, pour une tournée de Carmen et au Mexique A Masked Ball, Idomeneo, Carmen, avec l’Orchestre symphonique d’UNAM. The Thieving Magpie, Don Giovanni, Il a récemment dirigé plusieurs nouvelles Don Pasquale, The Elixer of Love, Lucia of productions dont Fidelio au Festival de Lammermoor, Ernani, Il trovatore, Aida, Faust, Nouvelle-Zélande, Lucia di Lammermoor Cavalleria rusticana, Pagliacci, La Bohème, avec le New Israeli Opera et Don Giovanni a Turandot, l’enregistrement primé de Tosca l’Opéra d’état de Hannover. et des extraits de Der Rosenkavalier, tous ces En studio, il a participé entre autres enregistrements étant réalisés en collaboration à la production de la BBC Television de avec la Peter Moores Foundation.

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CCHANHAN 31553155 Book.inddBook.indd 44-4544-45 11/2/08/2/08 13:49:0913:49:09 Sarebbe però inconsueto per la stessa voce Leporello nella prima viennese riveduta del Grandi arie operistiche avere rapporti altrettanto facili con Verdi: il Don Giovanni nel 1788 e quello di Guglielmo più delle volte il risultato sarebbe un mal di due anni dopo, nella prima rappresentazione di Questo recital di sir Thomas Allen si aggiunge impedire ai bassi tout court di cantare il ruolo gola. È vero che il cantante sarebbe in grado Così fan tutte. Tutto ciò fa sorgere altri dubbi a un catalogo sempre più ricco di opere di Leporello e qualche volta anche quello dello di leggere una partitura verdiana – la parte sul suo tipo di voce: la musica di Guglielmo ha tradotte in lingua inglese, ed è interamente stesso Don Giovanni. Analogamente, nelle per baritono nel duetto della Traviata, per un carattere relativamente alto, leggero e lirico, dedicato a una voce particolare, in questo caso Nozze di Figaro, non è infrequente avere un esempio – senza trovare note al di fuori della mentre quella di Leporello è vicina a quella di quella del baritono lirico, al fi ne di illustrarne basso nel ruolo di Figaro (il grande Ezio Pinza propria estensione. Il vero problema è la un vero basso (il rigo musicale è sempre più il carattere ed esplorarne il repertorio. Il e il suo successore Cesare Siepi, per esempio, quantità di note pericolosamente confi nanti basso di quello di Don Giovanni) in un ruolo programma riunisce prevalentemente i brani lo interpretarono più volte) e molto spesso con la gamma alta e la frequenza con cui si di caratterista. di due compositori fondamentali per questa l’interprete può appartenere a un’altra categoria pretende che un baritono si trovi a proprio agio Della voce del primo Don Giovanni, voce. Oggi il ha quattrocento intermedia, quella del baritono basso. Ma in queste regioni. La differenza tra le partiture Luigi Bassi, abbiamo almeno una descrizione anni di storia e, tra tutte le voci maschili, anche quella del baritono viene normalmente di Mozart e quelle di Verdi sta principalmente risalente al 1800 che la colloca “tra tenore quella del baritono forse è rimasta la più considerata una categoria intermedia: nella tessitura del ruolo, che è salita di un tono e basso” – e rileviamo che non si fa ricorso costante, essendo la più vicina alla normale l’inquadratura proviene dalla tradizione corale, e forse più. A questo si accompagna l’esigenza alla parola “baritono”, sebbene l’utilizzo del voce parlante. Anche in questo caso, però, in cui la musica a quattro voci è suddivisa tra di una maggiore potenza, risonanza e forza termine latino risalga al XV secolo. Mozart le aspettative dei compositori sono cambiate soprani, contralti, tenori e bassi. Uffi cialmente drammatica. Il vero baritono verdiano è raro l’aveva sentito cantare a Praga quando, appena notevolmente e i cantanti sono stati costretti i nostri cori non comprendono baritoni, anche quasi quanto un vero basso e le varietà più ventenne, aveva interpretato il ruolo del conte ad adattarsi. Tra Il fl auto magico (1791), ultimo se in realtà sappiamo che alcuni “tenori” e la leggere di tenore. Oggi, soprattutto in Italia, Almaviva nelle Nozze di Figaro: l’artista si era capolavoro comico di Mozart, e il Falstaff di maggior parte dei “bassi” sono effettivamente un tempo fonte principale di queste voci, la affermato e si era fatto apprezzare nei due Verdi (1893) intercorre poco più di un secolo baritoni, a cui viene chiesto di cantare note più fornitura sembra scarseggiare sempre più. anni precedenti. La prima, quindi, fu ancora ma, per quanto riguarda i requisiti vocali del alte o più basse, a seconda dei casi. Il Figaro originale di Mozart a Vienna più esclusiva, in quanto proponeva un Don cantante, la differenza è profonda. Inoltre è abbastanza certo che in media il nel 1786 fu l’italiano Francesco Benucci, Giovanni appena ventunenne. Negli anni Per le sue partiture Mozart non richiede baritono di un coro a cui vengano assegnate sempre defi nito un basso, talvolta con successivi, Bassi avrebbe riferito che Mozart espressamente voci baritonali. Nel Don parti più basse sia in grado di affrontare con l’aggiunta dell’aggettivo buffo. In una lettera incoraggiava i cantanti a improvvisare (a patto Giovanni, per esempio, i ruoli maschili sono un certo successo, come dilettante, le arie Mozart defi nisce la sua voce “eccezionale” e di rimanere in contatto anche con l’orchestra), distribuiti tra un tenore e quattro bassi. Che mozartiane incluse in questo recital (potrebbe quest’approvazione deve aver cementato la e che, su suggerimento di Bassi, avrebbe il compositore abbia in mente diversi tipi di anche aver perfezionato il brano di Figaro per stima che il compositore nutriva per l’artista, riscritto addirittura cinque volte il duetto voce è chiaro, ma la distinzione non è tale da la nuova recluta, per intrattenere gli amici). a cui fu chiesto di interpretare il ruolo di tra Don Giovanni e Zerlina (“Là ci darem la

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CCHANHAN 31553155 Book.inddBook.indd 46-4746-47 11/2/08/2/08 13:49:1513:49:15 mano”). Nel 1815 l’artista cantò ancora una o il volume né per l’estensione del registro Faure, il primo Posa del Don Carlos, e Antonio Christoff, fi no a Samuel Ramey. Con il volta il suo ruolo più famoso, sotto la direzione superiore. Pini-Corsi, che cantò Ford alla prima del monologo di Ford dal Falstaff (traccia 3 ), sir di Carl Maria von Weber. Però a Verdi – i cui brani per baritono Falstaff, perlomeno dai collezionisti di dischi, Thomas Allen estende la sua voce lirica per Del Leporello originale, Felice Ponziani, indubbiamente esigono questi attributi – non perché Faure compose anche brani come abbracciare lo stile più declamatorio del tardo si sa poco, ma Emanuel Schikaneder, il sembravano interessare particolarmente. Per “Les Rameaux” e “Crucifi x”, che ebbero Verdi. E nel brano “September Song” di Kurt primo Papageno, rimane un nome molto il suo primo Macbeth, Rigoletto e Germont successo presso i cantanti dell’epoca di Caruso, Weill (traccia 14 ), questo si ripete, ma la voce familiare e fu un vero personaggio. Uomo di padre, il compositore scelse un franco-italiano, e Pini-Corsi fu un artista prolifi co nelle prende una direzione completamente diversa. teatro fi no al midollo, fu scrittore, registra, Felice Varesi, che defi nì “l’unico artista registrazioni, quando la sua carriera aveva La nota melodia, tra parentesi, ha un’origine impresario, attore, ballerino e anche cantante. attualmente in Italia in grado di interpretare cambiato direzione ed era diventato il buffo meno familiare. Faceva parte di uno spettacolo Senza dubbio fu lui a inventare il ruolo di la parte a cui sto pensando [Macbeth] per lo preferito in Italia. Faure detiene il record intitolato Knickerbocker Holiday allestito a Papageno, con l’intenzione di interpretarlo stile del suo canto, la sua sensibilità e anche di “creazioni” per baritono, con Nélusko New York nel 1938, che prendeva materiale a personalmente, e Mozart avrebbe composto l’aspetto”. In diverse lettere Verdi gli diede ne L’Africaine e il ruolo di protagonista in prestito da un’operetta satirica incompiuta, musica apposta per la sua voce, mantenendola istruzioni dettagliate a proposito dei requisiti Hamlet di Thomas (1868). Era considerato un Der Kuhhandel (1934), brevemente in un’estensione comoda, entro il registro espressivi, drammatici, sottolineando sempre ottimo cantante, con una voce di straordinaria rappresentata al Savoy Theatre di Londra nel medio, e in uno stile che non richiedesse le che il dovere fondamentale di un cantante è nei qualità, prodotta in maniera uniforme e 1935 in inglese e intitolata A Kingdom for tecniche esclusive del cantante lirico preparato. confronti del drammaturgo e delle sue parole. utilizzata con intelligenza. Se si pensa che fu a Cow. “September Song” divenne famosa I melodrammi di Giuseppe Verdi sono In occasione della prima della Traviata (1853) il primo Rodrigo di Verdi, però, può essere attraverso la registrazione originale americana molto più vicini ai nostri tempi e quindi le talvolta si pensa che Varesi avesse contribuito sorprendente venire a sapere che il suo cavallo del periodo prebellico e al nostro elenco notizie sui loro interpreti sono molto più al fi asco, perlomeno per il suo atteggiamento di battaglia fosse il Mefi stofele di Gounod. di interpreti “originali” oggi bisognerebbe esaurienti. Tra i baritoni, il più famoso e il disfattista nei confronti dell’opera. Pare che si Un’osservazione che scaturisce da questa aggiungere la non-voce di Walter Houston preferito dal compositore, il francese Victor fosse sentito sminuito, dati i suoi precedenti breve rassegna di interpreti “originali” è che, (comunque indimenticabile). Maurel, incise addirittura alcuni 78 giri di trionfi , nel ruolo dell’anziano Germont. Dal nonostante siano oggi siano ricordati per Infi ne, la varietà assume un’altra forma nel brani solistici delle sue più famose “creazioni” momento che misurava l’importanza di un le loro associazioni con ruoli generalmente nostro programma. Come in quelli precedenti, verdine: Iago nell’Otello (1887) e Falstaff ruolo in base alle arie, ritenne poco adeguate destinati al baritono, avevano voci molto i brani solistici sono inframmezzati da brani (1893). Fu molto ammirato come attore di “Di Provenza” e la cabaletta. Evidentemente, diverse. Ma questo vale anche per il nostro più lunghi, duetti e concertati, che hanno melodramma e i dischi delle sue interpretazioni per lui avere una parte in uno dei più bei duetti programma; non che il Mefi stofele di Gounod due obiettivi: fare ascoltare la voce principale, teatrali (incisi nel 1907) non gli rendono verdiani rappresentava una magra ricompensa. vi trovi posto, ma viene incluso il Catalogo come nei melodrammi, in combinazione giustizia. La voce in sé non sembra mai essere Oggi Varesi si sente nominare di rado. di Leporello (traccia 6 ), beniamino di tutta con altre, e arricchire la raccolta integrale. stata considerata notevole per la ricchezza Vengono ricordati più spesso Jean-Baptiste una serie di bassi, come Chaliapin, Kipnis, Nel Flauto magico, Papageno l’uccellatore,

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CCHANHAN 31553155 Book.inddBook.indd 48-4948-49 11/2/08/2/08 13:49:1613:49:16 fa la conoscenza dell’eroina, Pamina, in di soldati “Dio, che nell’alma infondere” di Chicago, l’opera di San Francisco e Los Bernard Haitink, sir Simon Rattle, Wolfgang un momento in cui entrambi si trovano [“God who has brought us together”] Angeles, la Bayerische Staatsoper di Monaco Sawallisch e Riccardo Muti. involontariamente soli (traccia 9 ). L’amore (traccia 4 ), gli amici si giurano una fedeltà e la Scala di Milano e partecipa ai festival di Il primo libro di Thomas Allen, Foreign tra uomo e donna, concordano, è l’ideale, e lo che viene tragicamente dimostrata nella scena Salisburgo e Glyndebourne. Parts – A Singer’s Journal è stato pubblicato prendono in considerazione, ma in maniera della prigione, quando Rodrigo dà la propria Sono state particolarmente apprezzate le nel 1993; in 2003 è venuto un trionfante spassionata. L’altro duetto è un brano di vita per la libertà di Carlos (traccia 12 ). La sue interpretazioni di Billy Budd, Pelléas, esordio nella regia con Albert Herring al Royal pura allegria: Papageno ha trovato la sua musica che Verdi compose per Rodrigo in Eugenio Onieghin, Ulisse e Beckmesser, che College of Music, seguito da Don Giovanni e Papagena (traccia 13 ). Nel frattempo, come questa scena è tra la più generosa e sentita della si aggiungono ai grandi ruoli mozartiani: il Così fan tutte alla Sage, Gateshead (nel nord-est Pamina, Papageno è costretto ad attraversare sua intera produzione. Soprattutto, è dedicata Conte Almaviva, Don Alfonso, Papageno, d’Inghilterra). È stato insignito di numerose un momento diffi cile in cui la morte sembra al baritono. Il gusto del pubblico sembra aver Guglielmo e, naturalmente, don Giovanni. onorifi cenze, tra cui quella di Bayerischer l’unica soluzione. Pamina viene salvata dal decretato che l’eroe del melodramma debba I suoi ultimi impegni hanno compreso Kammersänger dalla Bayerische Staatsoper e la suo innamorato, Papageno dai Tre Geni che essere un tenore; ma talvolta si ha l’impressione Eisenstein (Die Fledermaus), don Alfonso, Honorary Membership della Royal Academy parlano il linguaggio celestiale del buonsenso e che, se fosse dipeso da Verdi, anche il baritono Ulisse e don Giovanni alla Bayerische of Music. Inoltre è Prince Consort Professor gli indicano un rimedio tempestivo. sarebbe stato protagonista in egual misura. Staatsoper; Eleckij (La dama di picche), del Royal College of Music, Hambro Visiting Dalla Traviata di Verdi abbiamo il primo Sharpless (Madama Butterfl y) e il ruolo di Professor of Opera Studies all’università di © 2008 John Steane dei migliori, grandi duetti per baritono protagonista in Sweeney Todd alla Royal Opera Oxford, Fellow del Jesus College Oxford, Traduzione: Emanuela Guastella e soprano, spesso padre e fi glia, qui House; Eisenstein per Glyndebourne Festival; Fellow del Royal College of Music, Fellow Germont padre e Violetta: un apparente Don Alfonso al festival primaverile ed estivo della . Ha ricevuto un nemico (sebbene sia padre) si trasforma Nato a Seaham, nella contea di Durham, sir di Salisburgo; il Guardacaccia (La volpe astuta) M.A. dall’università di Newcastle University in fi gura paterna (traccia 8 ). Nell’arco di Thomas Allen ha esordito come professionista all’Opera di San Francisco; e Beckmesser e e un D.Mus. da quella di Durham. Nel 1989 appena venti minuti la situazione viene con la Welsh National Opera e oggi è una star Don Alfonso alla Metropolitan Opera di è stato nominato Commander of the British completamente ribaltata, il momento della dei grandi teatri lirici di tutto il mondo. Alla New York. Empire e nel 1999 Knight Bachelor. svolta è rappresentato da una nota sola, dalla , Covent Garden, dove Thomas Allen è altrettanto famoso nelle sale cui risoluzione dipende la cruciale e tragica nel 2006 ha festeggiato trentacinque anni dal da concerto. Svolge recital nel Regno Unito e La carriera di cantante di Geoffrey Mitchell decisione. Nel Don Carlos il compagno del suo debutto con la compagnia, ha cantato in Europa, Australia e America e ha collaborato racchiude un repertorio notevole che spazia duetto con il baritono è il tenore e, cosa oltre quaranta ruoli. Nel 2006 ha festeggiato con le più grandi orchestre e con i direttori di dalla musica antica a quella contemporanea inconsueta per questa combinazione, le loro anche il venticinquesimo anniversario dal suo tutto il mondo. Ha registrato la maggior parte e che l’ha portato in Scandinavia, Germania, voci non si sfi dano, ma inneggiano insieme esordio alla Metropolitan Opera, New York. del suo repertorio con nomi illustri, tra cui nella ex Cecoslovacchia, in Canada e all’amicizia. Mentre cantano la loro preghiera È un apprezzato interprete per la Lyric Opera Georg Solti, James Levine, Neville Marriner, Australasia. L’esperienza di direzione degli inizi

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CCHANHAN 31553155 Book.inddBook.indd 50-5150-51 11/2/08/2/08 13:49:1613:49:16 con la BBC lo ha condotto ad un maggiore Wilhelm Furtwängler, Richard Strauss, Arturo nella serie Opera in English per Chandos, diretto diverse produzioni presso la English coinvolgimento con i suoi stessi cantanti e Toscanini, Guido Cantelli, Herbert von Karajan sponsorizzata dalla Peter Moores Foundation, National Opera e la Opera North e appare inoltre alla creazione del Geoffrey Mitchell e Carlo Maria Giulini. L’Orchestra continua The Marriage of Figaro, The Thieving Magpie, regolarmente con la Philharmonia Orchestra Choir. Le prime registrazioni sono sfociate a collaborare con direttori e solisti di fama Wozzeck, Don Giovanni, The Elixir of Love, e la London Philharmonic Orchestra. nel coinvolgimento a lungo termine del Coro mondiale, oltre ad attrarre nelle sue fi la i giovani Lucia of Lammermoor, Faust, Carmen, Aida, Nel 1996 ha debuttato con Così fan tutte con Opera Rara, per la quale ha inciso più di musicisti europei di maggiore talento. La Bohème, Madam Butterfl y, Turandot, la Tosca, al Glyndebourne Festival, dove nel 1998 trenta registrazioni. Il Coro gode di una fama Orchestra Residente presso la Royal Festival vincitrice di un premio, e vari di recital, ha diretto la prima mondiale di Flight di sempre maggiore con ulteriore lavoro dalla Hall di Londra, occupa una posizione centrale con assoli di arie d’opera eseguite da Bruce Ford, Jonathan Dove. BBC e da case discografi che internazionali. nella vita musicale britannica anche attraverso Diana Montague, Dennis O’Neill, Alastair È un frequente visitatore della Spagna Per la Chandos il Geoffrey Mitchell Choir residenze regionali che offrono un’opportunità Miles, Yvonne Kenny e John Tomlinson. La dove si è esibito in concerto con la maggior ha partecipato a numerose registrazioni nelle ideale per espandere il suo dinamico Philharmonia Orchestra continua a consolidare la parte delle maggiori orchestre spagnole. Ha applaudite serie di Opera in English con il programma educativo, basato sulle comunità. sua fama internazionale con frequenti tournèe e diretto la prima spagnola di Peter Grimes patrocinio della Peter Moores Foundation. Vincitrice di numerosi premi, è stata lodata attraverso le recenti, prestigiose residenze presso il a Madrid e nel 1996 la prima produzione all’unanimità dai critici per la sua politica di Châtelet Théâtre Musical di Parigi, il Megaron di spagnola di The Rake’s Progress. È apparso in La Philharmonia Orchestra, una delle più programmazione particolarmente innovativa e Atene e il Lincoln Center for the Performing Arts Germania, Svizzera, Paesi Bassi, al Festival grandi orchestre del mondo, è diretta per la fortemente incentrata sull’impegno ad eseguire di New York. di Pesaro in Italia, al Festival Internazionale undicesima consecutiva dal famoso e commissionare musiche nuove fi rmate dai di Hong Kong, in Giappone con una maestro tedesco Christoph von Dohnányi, in maggiori compositori contemporanei. David Parry ha studiato con Sergiu tournée della Carmen e in Messico con la qualità di Direttore Principale. In precedenza I concerti dell’Orchestra sono trasmessi Celibidache ed ha cominciato la sua carriera UNAM Symphony Orchestra. Recenti nuove questa carica era appartenuta a Otto Klemperer sempre più frequentemente da BBC Radio 3, come assistente di Sir John Pritchard. Ha produzioni da lui dirette comprendono il e da allora l’Orchestra ha collaborato con nomi incluso l’apparizione annuale in occasione debuttato all’English Music Theatre, quindi Fidelio al Festival della Nuova Zelanda, di prestigio come Lorin Maazel (Direttore dei BBC Proms. La Philharmonia Orchestra è diventato direttore d’orchestra presso la Lucia di Lammermoor alla New Israeli Opera e Principale Associato), Riccardo Muti (Direttore gode di una reputazione a livello mondiale Städtische Bühnen di Dortmund e la Opera Don Giovanni alla Staatsoper di Hannover. Principale e Direttore Musicale), Giuseppe ed è l’orchestra sinfonica che ha inciso di più North. È stato Direttore Musicale di Opera Il suo lavoro in studio di registrazione Sinopoli (Direttore Musicale) e, attualmente, in tutto il mondo, con un catalogo di oltre 80 dal 1983 al 1987 e dal 1992 è stato comprende la produzione della BBC di Kurt Sanderling (Direttore Emerito), 1000 incisioni, tra cui una serie di colonne Direttore Musicale fondatore dell’Opera di Der Vampyr di Marschner nonché ventotto Vladimir Ashkenazy (Direttore Laureato) e sonore per fi lm e televisione. La sua discografi a Almeida. registrazioni operistiche complete con il Sir Charles Mackerras (Direttore Principale include, per Opera Rara, numerosi dischi Lavora copiosamente in opere e concerti, patrocinio della Peter Moores Foundation. Ospite), oltre che con artisti importanti come di recital, oltre a tredici opere complete, e a livello nazionale ed internazionale. Ha Tra questi vi sono numerosi dischi per

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CCHANHAN 31553155 Book.inddBook.indd 52-5352-53 11/2/08/2/08 13:49:1713:49:17 l’etichetta Opera Rara che hanno vinti parecchi The Flying Dutchman, The Marriage of Figaro, Sir Thomas Allen as Papageno in The Royal Opera’s premi, tra cui il belga Prix Cecilia per la A Masked Ball, Idomeneo, Carmen, The Thieving production of The Magic Flute Rosmonda d’Inghilterra di Donizetti. Magpie, Don Giovanni, Don Pasquale, Per Chandos ha diretto una serie di registrazioni The Elixir of Love, Lucia of Lammermoor, di arie d’opera (con Sir Thomas Allen, Jennifer Ernani, Il trovatore, Aida, Faust, Cavalleria

Larmore, Bruce Ford, Alan Opie, Diana rusticana, Pagliacci, La Bohème, Turandot, Tosca /ArenaPal Barda © Clive Montague, Dennis O’Neill, Alastair Miles, (vincitrice di un premio) e brani scelti da Yvonne Kenny, John Tomlinson, Barry Banks, Der Rosenkavalier, tutte in collaborazione con la Della Jones e Andrew Shore), Nabucco, Fidelio, Peter Moores Foundation.

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CCHANHAN 31553155 Book.inddBook.indd 54-5554-55 11/2/08/2/08 13:49:1813:49:18 from The Magic Flute I’d hold her close, the pretty thing, Off you go to join the fi ghting! from Falstaff And she would sleep beneath my wing. You may fi nd it quite exciting! Emanuel Schikaneder, translation by Jeremy Sams. Wearing armour may not suit you, Ford’s Monologue Papageno’s Aria Vocal material reprinted by kind permission of Josef but it’s handy when they shoot you. Weinberger Ltd, London, as or on behalf of the All around you the battle rages; Ford Papageno copyright holder think of fame not of the wages. 3 I’m dreaming? Or is this true? Not your usual exertions Two ghastly horns are bursting out of my 1 I’m sure that there could never be a more contented man than me! but alarums and excursions. forehead. I earn my living as I please, After twenty days of marching I’m dreaming? Master Ford! Sleeping? I charm the birds from out the trees. from The Marriage of Figaro you will wish that you were dead, Rouse yourself! Quick! Wake up now! I set my nets against the sky, and all the trumpeting and drumming Your wife’s unfaithful, destruction stalks your I call the birds and down they fl y… means the enemy is coming, household, Figaro’s Aria So when you hear my music play and the bullets will be humming your name, your honour – even your bedroom! you’ll know that I’m not far away. all around your pretty head. The hour is decided, she means to betray you, Here’s an end to airs and graces, you are mocked and derided! Figaro pretty hats, pretty laces. My friends will tell me 2 Here’s an end to your life as a rover, If only I could cast a spell Here’s an end to perfection, that a husband who’s jealous is a madman! here’s an end to the young Casanova; to capture pretty girls as well. to your face, your girlish complexion. Behind my back slander and scandal follow, it was fun for a while but it’s over, My nets would get them by the score, dogging my footsteps, murmuring and sneering. we will soon wipe the smile off your face. each day I’d catch a hundred more. Who would be married? And soon I would fulfi l my dream, Here’s an end to your life as a rover, etc. What madness! a thousand girls in my harem… Here’s an end to our proud little peacock, Woman, I curse you! If I achieved my heart’s desire, scrubbed and powdered and primped to Trust in your wife and you’ll soon be a cuckold! I’d hang my nets up and retire. perfection. You may live to tell the story Rather entrust my beer to a German, Here’s an end to your girlish complexion, and I rather hope you do, Open my larder to a Flemish glutton, to your ribbons and satin and lace. for it’s off to death and glory, Unlock my cellar to a Turkish drunkard? A thousand maidens might be fun, We will soon wipe the smile off your face. it’s a soldier’s life for you. But! Not my wife with herself. but I’d have to set my heart on one. Here’s an end to airs and graces, pretty laces, Lorenzo da Ponte after Beaumarchais, translation A fi lthy scandal! I’d choose the girl I liked the best your perfection, your girlish complexion. by Jeremy Sams And it’s here in my heart that word re-echoes: and take her home to share my nest. Vocal material reprinted by kind permission of a cuckold! Donkey! Old goat! We’d bill and coo, we’d hug and kiss, Josef Weinberger Ltd, London, as or on behalf of How could she do it! Ah! A cuckold! and ev’ry night I’d play her this… Here’s an end to your life as a rover, etc. the copyright holder But you will not escape, no!

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CCHANHAN 31553155 Book.inddBook.indd 56-5756-57 11/2/08/2/08 13:49:2313:49:23 Lecher, glutton, be damned, you hulk of mutton! with fi re of a love that’s pure and is true, Don Carlos But the words of the spirits reassure me: First let them couple, I’ll catch them at it. the love that men should be free! …and I have lost her! Yes, I have lost her! ‘do not fl inch to be fearless and bloody, I’m choking! She is his wife, ah! my God! for no man born of woman can harm you!’ I will avenge this outrage! God grant that this love may fi re us, No, Macbeth does not fear you, no, I swear with all my being, may freedom’s call inspire us; Chorus of Monks nor the feeble boy who commands you! I’m thankful evermore that I am jealous. accept the vow that we swear! For grace and mercy on high! All is in the balance, war will strengthen my Arrigo Boito after Shakespeare, translation by We shall die united in love. For God is great! Yes, He is great! kingdom, Amanda Holden or destroy me completely! Rodrigo Monk And yet my courage, the lifeblood of my being, They are here! Grant, ah grant him that peace you alone can is draining from me! from Don Carlos bestow. God alone is great! Don Carlos Don Carlos’ and Rodrigo’s Duet Rodrigo When you are old and full of tears, I’m afraid! When I see her tremble! Stay by my side, by my side be strong and calm who’ll watch you when you are sleeping? Rodrigo and steel your heart! No one will soothe your empty years Rodrigo 4 Listen! The cloister doors will soon be unbarred, or lighten the load of death. admitting your father and also the Queen. Be brave! Don Carlos and Rodrigo Mourners may meet at your graveside, We’ll live as one and together we’ll die… but you will not hear them weeping. Don Carlos Chorus of Monks God accept the vow that we swear, No! they will accuse you of murder and spit upon Elizabeth! Charles the Fifth our mighty lord… let us live, let us die united in love, your grave fi rm in our love! living as one, bound together, and they will curse Macbeth, they will accuse you Rodrigo Don Carlos and together in death, life and death! of murder. Carlos, at my side show resolve and rouse your She is his wife… Joseph Méry and Camille Du Locle after Schiller, Ah, they will accuse you of murder and curse fainting spirits! For there in Flanders the people translation by Andrew Porter you, wait to greet their saviour… We’ll pray to God to Chorus of Monks curse you Macbeth! fi re your soul with strength! …lies here in dust and lifeless clay; No, no one will be weeping, they’ll curse you, from Macbeth yes, they will curse Macbeth. Don Carlos and Rodrigo Don Carlos Francesco Maria Piave after Shakespeare, God who has brought us together, …and I have lost her, Macbeth’s Scena and Aria translation by Jeremy Sams fi re our hearts with fl ames of glory, Vocal material reprinted by kind permission of fi re that is noble and pure – Chorus of Monks Macbeth Josef Weinberger Ltd, London, as or on behalf of fl ames of love that will set men free, While his immortal soul in anguish prays… 5 Treachery! The exiles dare unite against me! the copyright holder

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CCHANHAN 31553155 Book.inddBook.indd 58-5958-59 11/2/08/2/08 13:49:2413:49:24 from Don Giovanni He debauches saints and sinners, Stay under cover, then you’ll discover Violetta even absolute beginners. what he’s about. You? Leporello’s Catalogue Aria He will court a queen or pauper; I will be cunning, slyly deceiving, hag or charmer, he will love her. cutting and running, ducking and weaving. Germont Shy or willing, he has to have her! He may be clever but he’s met his match. Yes, of that madman: Leporello These are all he’s had so far. I can undo any scheme he can hatch, how did you bewitch him? 6 Little lady! You can study all the girls he’s had so far! he may be clever, but he’s met his match. You will ruin my son. Here’s a list I’ve assembled of the beauties my Lorenzo da Ponte, translation by So little master, you’re dressed to go dancing master has bedded, Christopher Cowell dressed in your best to go strutting and prancing. Violetta so it might be as well if you read it. I’ll put an end to your fun pretty soon; Sir, you address a lady Follow closely, I’ll show you the score! you may go dancing but I’ll call the tune, yes, and this is my house. from The Marriage of Figaro The Italians; six hundred and forty. I’ll call the tune. I’m afraid I must leave you, Then the Fräuleins; two hundred and thirty. Figaro’s Recitative and Cavatina Lorenzo da Ponte after Beaumarchais, translation more for your sake than mine. Five score French ones and ninety in Turkey, but by Jeremy Sams Señoritas… Figaro Vocal material reprinted by kind permission of Josef Germont Señoritas; one thousand and four… maybe more! 7 Bravo, my lord and master. Now I’m beginning Weinberger Ltd, London, as or on behalf of the How gracious! Wait though… There are maids and country lasses, to see how you planned it. It’s all very simple copyright holder lower depths and upper classes, when you start to understand it. We’re off to Violetta why countesses, baronesses, London, you as minister, me as messenger. And Someone has misinformed you. marchionesses and princesses; my Susanna, to succour and support you. Well, if from La traviata every fi gure and complexion, that’s what you’re up to, Figaro has caught you! Germont never mind how old they are! Recitative and Duet He is planning to give you his fortune… Blondes are charming, free with their favours, Cavatina yet he loves all other fl avours! So little master, you’re dressed to go dancing, Violetta Germont Dark-haired passion never wavers; dressed in your best to go strutting and prancing. He would never dare to… I would refuse. 8 You are Violetta Valéry? white hairs offer riper savours! I’ll put an end to your fun pretty soon; Someone plumper when it’s freezing, you may go dancing but I’ll call the tune, yes, Germont when it’s warmer, slim and pleasing. I’ll call the tune. Violetta Who keeps this household? Tall and splendid; he admires them! If you want dancing, I’ll be your master I am, sir. Small and dainty, how he desires them! faster and faster, dance till you drop, yes, Violetta I’ve recorded widows and mothers; dance till you drop. Germont This contract has so far been secret… but you they surrender just like the others. You’ll see, be careful, Figaro, be careful! I am the father of Alfredo. may see it…

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CCHANHAN 31553155 Book.inddBook.indd 60-6160-61 11/2/08/2/08 13:49:2513:49:25 Germont Germont Violetta Germont Heav’ns! What does this mean? Yes. I have a daughter sent from God, You’re asking me to give him up for ever? You think so, yet you know how fi ckle men can Are you really selling all your worldly innocent and appealing, be. possessions? Alfredo now disowns us both Germont Violetta What a pity your past must always shame you! and scorns all fam’ly feeling. It must be. She has a lover young and true. Oh heaven! Violetta They are engaged to marry. Violetta Germont My past is over… I love Alfredo Now he will have to break the tie Ah no! Never! A day will come when making love no longer will and God has heard my pray’r, that made them both so fond and happy. Don’t you realise I adore him, and I live my excite you: and granted me his pardon! Ah, do not turn to bitter thorns. whole life for him? a life of fading memories is all that’s left, Roses so sweet and fair. There is no one, friend or fam’ly, none to help consider… Germont Ah, do not turn to bitter thorns me – or to guide me! For you no future happiness of sweet and true Noble and gen’rous feelings. the roses of their love. And Alfredo has given me his word to live for affection, Ah, don’t deny your sympathy; me. for this affair will never, never gain the grace of Violetta no, no, you cannot close your heart to me! Don’t you realise I am dying? Yes, I swear it, I heaven. How reassuring to hear you speak so kindly! am dying. Violetta Violetta And I cannot leave my Alfredo! Germont I know it! I know it! Ah, I follow! I ought to spend a short while away Such a torment would be terrible and I could Now I can ask you to sacrifi ce those feelings. from my Alfredo! never bear it. Germont I will suffer, suffer so much. Still… I would prefer, I would prefer to die. Ah, do not now deceive yourself by trusting in Violetta delusion. Ah, no, you mustn’t… Germont You want to ask for something that would hurt Germont Violetta The sacrifi ce is bitter, but hear me out, I beg of me… That’s not what I’m asking. I cannot! It’s true! I foresaw it. I knew it, ah, I was far too happy! you. You are so lovely and still so young… In time Germont Violetta Germont you… Say you will be, for my sake, an angel of Heaven! There’s something further: I’ve tried to Alfredo’s father implores you to have pity consolation: help you! on the fate of both his children. Violetta Violetta won’t you pity me? Ah no, don’t say that… You mean well… but I We still may be in time. Violetta Germont cannot change. The voice of God inspires me. Both his children? Try still harder! I never could love another. His voice inspires a father’s words.

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CCHANHAN 31553155 Book.inddBook.indd 62-6362-63 11/2/08/2/08 13:49:2513:49:25 Violetta She had but a moment, yes, one single moment Violetta that happened… So I must pay for the sins I’ve committed: of happiness. Embrace me, embrace me as your daughter. I will be true until the end. I’m his until I die. no hope of pity for me is permitted. She shut it out of her life and she died, yes, she Then I will have the strength. God may be merciful. He may forgive me, died. I’ll give you back Alfredo, but he’ll be broken Germont Man has no pity, he has no heart, One single ray shut it out and then she died. hearted. Your tears will be rewarded, yes, all that you have No, he has no heart. Man is impacable, he has He’ll need your comfort… you’ll need to console suffered and you’ll be proud you noble girl of all no heart. Ah! Germont him. that you have done, yes, yes. What I ask is bitter… Yes, the sacrifi ce I am He will know. I know that you, you noble girl, Germont asking will grieve you… Germont will have no cause to sigh; Be my consoling angel, you must console us all. I feel your suffering deep in my spirit. Your intention? Your tears will be rewarded, you’ll have no cause Have pity on me, I beg you console us all. Have courage and your noble nature will win! to sigh, ah, no. Anguish, anguish breaks your heart, Violetta Violetta Violetta you are noble, you’ll have no cause to Have courage and your noble nature will win. I fear that if I told you, you might oppose it. Comfort your daughter, so pure and lovely. sigh. You must be brave, yes, be brave. Tell how a victim once suffered so lonely. Germont She had but a moment, yes, one single moment How unselfi sh! How can I repay your goodness, Violetta Violetta of happiness. your noble goodness, There’s someone here, please leave me. Then command me. She shut it out of her life and she died, yes, she how can I help you? died. Germont Germont Violetta With all my heart I thank you. Germont Tell him you don’t love him. I’ll die! I’ll die but you must promise me you Anguish, anguish breaks your heart my poor won’t ever let him curse me, Violetta child. Violetta you’ll tell him of my sacrifi ce and why I had to Ah leave me. Anguish, anguish breaks your heart Violetta. He won’t believe me. leave him! This may be our last meeting. I am demanding so great a sacrifi ce, asking you May you be happy. Farewell! now to give up Alfredo. Germont Germont I feel your suffering deep in your spirit. Then leave him No gen’rous girl, you shall not die: You must have courage and your noble nature a sweet path lies before you. Germont will win in the end. Violetta Your tears will be rewarded and the angels will May you be happy. Farewell! He would follow. smile upon you! Violetta Violetta Comfort your daughter, so pure and lovely. Germont Violetta Now promise me that one day you’ll tell him all Tell how a victim once suffered so lonely. Well then… Now promise me that one day you’ll tell him all that happened.

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CCHANHAN 31553155 Book.inddBook.indd 64-6564-65 11/2/08/2/08 13:49:2613:49:26 Germont Pamina let’s have a ball! Rodrigo Yes! Yes! For love possesses powers of healing, Whirling and kissing, they won’t be missing 12 I’m here, Carlos! it soothes all pain, it cures all ill. this one or that one, I’ll have them all. Violetta And in the morning you will have plenty, Don Carlos I will be true until the end… Farewell! Papageno fi fteen or twenty names for the list. My Rodrigo! my only friend! You’ve come to see May you be happy. God bless you! And no day passes without feeling Lorenzo da Ponte, translation by Amanda Holden me here in this my tomb! its force, its universal will. Germont Rodrigo Pamina and Papageno from Don Giovanni Carlos! May you be happy. God bless you! Love shows the way to lead our life, Francesco Maria Piave after Dumas, translation by living as one as man and wife. Don Giovanni’s Canzonetta Don Carlos Edmund Tracey Man and wife and wife and man. Vocal material reprinted by kind permission of Josef You understand, that all my strength has failed Man and wife when joined in love Don Giovanni me! My love for Elizabeth is a grief that will kill Weinberger Ltd, London, as or on behalf of the lift their life to heav’n above. copyright holder 11 Come softly to your window, me… No! I can do no more now for Flanders! Up to heav’n above. my jewel, my darling! But you, you can bring her that golden age we Emanuel Schikaneder, translation by Jeremy Sams. Come, soothe my aching heart both longed to see! Vocal material reprinted by kind permission of from The Magic Flute and kiss my tears away. Josef Weinberger Ltd, London, as or on behalf of But, if you still remain deaf to my calling, Rodrigo the copyright holder I swear your lovely eyes will see my dying day. Ah! You have still to learn what love I bear you. Pamina and Papageno’s Duet Your lips are blushing petals, You soon will leave this gloomy place of death. from Don Giovanni roses that offer golden nectar and honey; With loving tender pride let your friend now Pamina Sweet, melting treasure. embrace you! I’ve saved your life! 9 A man in search of truth and beauty Don Giovanni’s Aria If they refuse me now, how I will suffer! will fi nd the love his heart desires. Show me one glimpse of joy, one night of Don Carlos Don Giovanni pleasure! But how? Papageno 10 Now that the wine has stopped them from Lorenzo da Ponte, translation by Christopher And so it is a woman’s duty thinking, Cowell Rodrigo to fan the fl ame which she inspires. let’s have some drinking, women and song. And I must leave you; we take our last farewell! If there are girls there down in the town square, Yes, Carlos, yes. Pamina and Papageno you’d better catch them, bring them along. from Don Carlos My last day has dawned for ever, We must obey love’s holy law, Skip the formalities, get them all dancing, you and I must now say goodbye. living as one for evermore. try a fl amenco with a follia and a bolero, Prison Scene Till that time when God unites us,

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CCHANHAN 31553155 Book.inddBook.indd 66-6766-67 11/2/08/2/08 13:49:2613:49:26 when we meet once more on high! for our glorious endeavour, live till you see our from The Magic Flute Papageno In those eyes tears of grief are shining; dream come true… till the age of gold is revived Yes, now at last we will be together. why this glance, why this silent glance of dread? by the reign of Carlos. Yes, you must live and Papagena and Papageno’s Duet But the one thing that we need, Dry those tears for death is welcome, o my rule, and I must die for you! Carlos! Papageno Papagena Yes death is welcome, o my Carlos, when I die Yes, the one thing that we need… Don Carlos 13 Pa – Pa – Pa – for you! God! A shot! But aimed at whom? Papageno and Papagena Papagena …if the Gods do not ignore us, Don Carlos Pa – Pa – Pa – But why do you speak of death? Rodrigo is a tiny little chorus, At me! The revenge of the King has not been yes, a tiny little chorus slow to strike me! Papageno of lots of hungry mouths to feed, Rodrigo Pa Pa Pa Pa Pa pa pa ge na! yes, lots of hungry mouths to feed. Now hear me! Time is pressing… For I have drawn on my head the thunderbolt of vengeance! Don Carlos Papagena Papageno And today it is not you they seek; the man who O God! Pa Pa Pa Pa Pa pa pa ge no! First there’s a little Papageno… stirs rebellion in Flanders… is I! Rodrigo Papageno Papagena Don Carlos Carlos, now hear me… Your mother awaits you Will you stay with me for ever? Then there’s a little Papagena. O my friend! who’ll believe it? at San Yuste tomorrow: she knows our plan! Ah, my senses are failing! Carlos! Your hand. Ah! I Papagena Papagena and Papageno Rodrigo die, die contented, for by my death I’ve saved Yes, I’ll stay with you for ever. There is no more that we can pray for… Twenty proofs attest it! All your papers your life… Ruler of Spain, saviour of Flanders! were found on me, plans, and secret plots, Farewell! Carlos, don’t forget! You must live Papageno Papagena overwhelming proofs of treason… A price is on and rule, and I must die for you! Ah! ah! I die Now at last we’ll be together, Than lots of little Papagenas. my head; I have not long to live! contented, for by my death I’ve saved your life… Ruler of Spain, saviour of Flanders! Farewell! Papageno Papagena Don Carlos Carlos, don’t forget… ah! my senses are failing… Than lots of little Papagenos. Two little love birds of one feather, I’ll go before the King… Carlos your hand, Carlos! Ah! you’ll save our Flanders! Carlos, farewell! Papageno and Papagena Rodrigo Joseph Méry and Camille Du Locle after Schiller, Papagena and Papageno What greater gift can God provide? You must live for our Flanders! You must live translation by Andrew Porter Yes, now at last we will be together. You’ll see their parents burst with pride.

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CCHANHAN 31553155 Book.inddBook.indd 68-6968-69 11/2/08/2/08 13:49:2713:49:27 Papageno When you meet with the young men early in On session: David Parry and Sir Thomas Allen Papageno! spring They court you in song and rhyme; They woo you with words and a clover ring, Papagena But if you examine the goods they bring Papagena! They have little to offer but the songs they sing; Emanuel Schikaneder, translation by Jeremy Sams And a plentiful waste of time of day /ArenaPal Barda © Clive A plentiful waste of time. words by Kurt Weill and Maxwell Anderson From Knickerbocker Holiday

September Song 14 When I was a young man courting the girls I played me a waiting game; If a maid refused me with tossing curls I let the old earth take a couple of whirls While I plied her with tears in lieu of pearls. And as time came around she came my way, As time came around she came.

But it’s a long, long while From May to December; And the days grow short When you reach September; And the autumn weather turns the leaves to fl ame, And I haven’t got time for the waiting game; For the days dwindle down to a precious few September, November, And these few precious days I’d spend with you, These golden days I’d spend with you.

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CCHANHAN 31553155 Book.inddBook.indd 70-7170-71 11/2/08/2/08 13:49:2813:49:28 The Opera In English Series Great Operatic Arias

CHAN 3011(2) Donizetti: Don Pasquale CHAN 3079(2) Verdi: Falstaff CHAN 3057(3) Mozart: Don Giovanni CHAN 3127 Christine Brewer CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3116(2) Verdi: A Masked Ball CHAN 3103(2) Mozart: Idomeneo CHAN 3096 Elizabeth Futral CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3136(2) Verdi: Nabucco CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3035 Yvonne Kenny CHAN 3017(2) Donizetti: Mary Stuart CHAN 3068(2) Verdi: Otello CHAN 3121(2) Mozart: The Magic Flute CHAN 3099 Yvonne Kenny 2 CHAN 3073 sings scenes from Mary CHAN 3030(2) Verdi: Rigoletto CHAN 3022 Strauss: Der Rosenkavalier (The CHAN 3049 Della Jones Stuart CHAN 3023(2) Verdi: La traviata Knight of the Rose, highlights) CHAN 3142 Jennifer Larmore CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3010 Diana Montague Company) CHAN 3067 A Verdi Celebration CHAN 3054(3) Wagner: The Rhinegold CHAN 3093 Diana Montague 2 CHAN 3004 Mascagni: Cavalleria rusricana CHAN 3091(2) Bizet: Carmen CHAN 3038(4) Wagner: The Valkyrie CHAN 3112 Barry Banks (Rustic Chivalry) CHAN 3014(3) Gounod: Faust CHAN 3045(4) Wagner: Siegfried CHAN 3006 Bruce Ford CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3089(2) Gounod: Faust (abridged) CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3100 Bruce Ford 2 CHAN 3008(2) Puccini: La bohème CHAN 3033(2) Massenet: CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3070(2) Puccini: Madam Butterfl y CHAN 3134(2) Poulenc: The Carmelites CHAN 3133 Bartók: Bluebeard’s Castle CHAN 3013 Dennis O’Neill CHAN 3000(2) Puccini: Tosca CHAN 3130(3) Berg: Lulu CHAN 3101(2) Janácˇek: CHAN 3105 Dennis O’Neill 2 CHAN 3066 Jane Eaglen sings Tosca CHAN 3094(2) Berg: Wozzeck CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3085 Alan Opie CHAN 3086(2) Puccini: Turandot CHAN 3019(3) Handel: Julius Caesar CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3077 Andrew Shore CHAN 3025(2) Rossini: CHAN 3019(3) Handel: Acis and Galatea CHAN 3138(2) Janácˇek: The Makropulos Case CHAN 3032 Alastair Miles CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3072 Janet Baker sings scenes from Julius CHAN 3145(2) Janácˇek: Katya Kabanova CHAN 3044 John Tomlinson CHAN 3074(2) Verdi: Aida Caesar CHAN 3007 Mussorgsky: Boris Godunov CHAN 3076 John Tomlinson 2 CHAN 3052(2) Verdi: Ernani (highlights) CHAN 3143(2) Humperdinck: Hansel and Gretel CHAN 3118 Sir Thomas Allen CHAN 3128(2) Smetana: The Bartered Bride CHAN 3081(2) Mozart: The Abduction from the CHAN 3078 Baroque Celebration Seraglio CHAN 3042(2) Tchaikovsky: Eugene Onegin

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CCHANHAN 31553155 Book.inddBook.indd 72-7372-73 11/2/08/2/08 13:49:3113:49:31 On session: Susan Gritton On session: Claire Rutter

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CCHANHAN 31553155 Book.inddBook.indd 74-7574-75 11/2/08/2/08 13:49:3113:49:31 Also Available Also Available

CHAN 3118 CHAN 3101(2)

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CCHANHAN 31553155 Book.inddBook.indd 76-7776-77 11/2/08/2/08 13:49:3613:49:36 On session: Sir Thomas Allen, David Parry and Claire Rutter Also Available

Vocal and language consultant: Ludmilla Andrew Staging director: Charles Kilpatrick Music librarian: Jacqui Compton

Session photos by Bill Cooper

Executive producer Brian Couzens Producer and editor Rachel Smith Sound engineer Jonathan Cooper Assistant engineer Paul Quilter Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 12–15 October 2007 Front cover Photo of Sir Thomas Allen by Bill Cooper Back cover Photo of David Parry by Russell Duncan Design & typesetting Cassidy Rayne Creative Booklet editor Kara Reed Publisher G Ricordi & Co (London) Ltd (tracks 3, 4, 5, 8, & 12), Josef Weinberger Ltd (track 14) Copyright Chappell & Co Inc Kurt Weill Foundation for Muisc Inc and WB Music Corp., USA, Warner/Chappell Music Ltd, London W1Y 3FA P CHAN 3118 2008 Chandos Records Ltd © 2008 Chandos Records Ltd

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CCHANHAN 31553155 Book.inddBook.indd 78-7978-79 11/2/08/2/08 13:49:4013:49:40 GREAT OPERATIC ARIAS: Sir Thomas Allen 2 / Parry GREAT OPERATIC ARIAS: Sir Thomas Allen 2 / Parry CHANDOS DIGITAL CHAN 3155

Sir Thomas Allen Volume 2 Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart from The Magic Flute from The Magic Flute 9 1 ‘I’m sure that there could never be’ 2:52 ‘A man in search of truth and beauty’ 3:12 with Susan Gritton soprano from The Marriage of Figaro 2 ‘Here’s an end to your life as a rover’ 3:51 from Don Giovanni 10 ‘Now that the wine has stopped them Giuseppe Verdi from thinking’ 1:29 from Falstaff 3 Ford’s Monologue 4:37 11 ‘Come softly to your window’ 2:20 from Don Carlos 4 Giuseppe Verdi ‘God who has brought us together’ 5:41 from Don Carlos with Gwyn Hughes Jones tenor 12 ‘My last day has dawned for ever’ 12:13 Philip Tebb bass • Geoffrey Mitchell Choir with Gwyn Hughes Jones tenor from Macbeth 5 Wolfgang Amadeus Mozart ‘Treachery!’ – ‘When you are old and full of tears’ 5:16 from The Magic Flute 13 ‘Pa-pa-ge-na Papagena’ 2:38 Wolfgang Amadeus Mozart with Susan Gritton soprano from Don Giovanni 6 ‘Little lady! Here’s a list I’ve assembled’ 5:38 Kurt Weill from Knickerbocker Holiday from The Marriage of Figaro 14 7 September Song 4:04 ‘So little master, you’re dressed to go dancing’ 3:30 TT 76:23 Giuseppe Verdi CHAN 3155 CHAN 3155 from La traviata (The Fallen Woman) Philharmonia Orchestra 8 ‘I have a daughter sent from God’ 18:56 David Parry with Claire Rutter soprano

p 2008 Chandos Records Ltd c 2008 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

CCHANHAN 31553155 Inlay.inddInlay.indd 1 118/1/088/1/08 17:03:2017:03:20