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Francesca Da Rimini FRANCESCA DA RIMINI RICCARDO ZANDONAI DYREKTOR NACZELNY FILHARMONII ŁÓDZKIEJ TOMASZ BĘBEN DYREKTOR ARTYSTYCZNY FILHARMONII ŁÓDZKIEJ LECH DZIERŻANOWSKI DYRYGENT I SZEF ORKIESTRY FILHARMONII ŁÓDZKIEJ DANIEL RAISKIN CHÓRMISTRZ I SZEF CHÓRU FILHARMONII ŁÓDZKIEJ DAWID BER DYREKTOR GENERALNY MET PETER GELB DYREKTOR MUZYCZNY MET JAMES LEVINE RICCARDO ZANDONAI (1883–1944) FRANCESCA DA RIMINI OPERA W CZTERECH AKTACH LIBRETTO: TITO RICORDI WEDŁUG TRAGEDII GABRIELE D’ANNUNZIA OSOBY REALIZATORZY FRANCESCA SOPRAN REŻYSERIA PIERO FAGGIONI córka Guida Mniejszego da Polenty DEKORACJE EZIO FRIGERIO SAMARITANA MEZZOSOPRAN KOSTIUMY FRANCA SQUARCIAPINO jej siostra ŚWIATŁO GIL WECHSLER OSTASIO BAS RUCH SCENICZNY DONALD MAHLER jej brat GIOVANNI BARYTON OBSADA zwany Chromym, syn Malatesty da Verucchio PAOLO TENOR FRANCESCA EVA-MARIA WESTBROEK zwany Pięknym, jego brat SAMARITANA DINA KUZNETSOVA MALATESTINO TENOR OSTASIO PHILIP HORST zwany Jednookim, jego brat GIOVANNI MARK DELAVAN BIANCOFIORE MEZZOSOPRAN PAOLO MARCELLO GIORDANI dwórka Franceski MALATESTINO ROBERT BRUBAKER GARSENDA SOPRAN BIANCOFIORE CAITLIN LYNCH dwórka Franceski GARSENDA DISELLA LARRUSDOTTIR ALTICHIARA KONTRALT ALTICHIARA PATRICIA RISLEY dwórka Franceski ADONELLA RENÉE TATUM ADONELLA SOPRAN NIEWOLNICA GINGER COSTA-JACKSON dwórka Franceski TOLDO BERARDENGO KEITH JAMESON NIEWOLNICA MEZZOSOPRAN WĘDROWNY BARD JOHN MOORE TOLDO BERARDENGO TENOR KUSZNIK HUGO VERA notariusz STRAŻNIK NA WIEŻY STEPHEN GAERTNER WĘDROWNY BARD BAS KUSZNIK TENOR CHÓR, ORKIESTRA THE METROPOLITAN OPERA STRAŻNIK NA WIEŻY BARYTON W NOWYM JORKU KUSZNICY I ŁUCZNICY, MUZYCY DYRYGENT MARCO ARMILIATO PRAPREMIERA W TEATRO REGIO W TURYNIE 19 LUTEGO 1914 ROKU PRZEDSTAWIENIE TRWA OKOŁO CZTERECH GODZIN (Z TRZEMA PRZERWAMI) PREMIERA W THE METROPOLITAN OPERA W NOWYM JORKU 9 MARCA 1984 ROKU PRZEDSTAWIENIE W JĘZYKU WŁOSKIM Z NAPISAMI WZNOWIENIE: 4 MARCA 2013 ROKU W JĘZYKACH POLSKIM I ANGIELSKIM STRESZCZENIE LIBRETTA Akt pierwszy wierząc, że jeśli pokona wroga, zostanie mu wybaczone Włochy, XIII wiek. W domu rodziny Polentanich w Ra- zło, jakie za jego sprawą spotkało Franceskę. Kobieta modli wennie zabawę służbie, która dworuje sobie z wędrow- się, by Bóg otoczył go swoją opieką. W pewnej chwili nego barda, przerywa przybycie brata Franceski. Ostasio wydaje jej się, że strzała trafia Paola w głowę. Zrozpaczona zamierza z powodów politycznych wydać swoją siostrę biegnie mu na ratunek, a ukochany uspokaja ją, mówiąc, za okrutnego, kalekiego Giovanniego Malatestę, zwanego że nie jest ranny, ale że zabija go miłość do niej. Przybywa Gianciottem. Francesca, która nigdy nie widziała swojego Gianciotto. Chwali męstwo brata, ale jest zaskoczony, przyszłego męża, jest przekonana, że ma poślubić Paola, widząc żonę na polu walki. Francesca i Paolo, chcąc przystojnego brata Gianciotta. Siostra pociesza Franceskę, odwrócić jego uwagę, częstują go winem. Żołnierze wno- poruszoną faktem opuszczenia rodzinnego domu, tymcza- szą oślepionego Malatestina, młodszego brata Giovanniego sem słudzy powiadamiają ją, że przyjechał jej narzeczony; i Paola. Francesca bandażuje mu swoją szarfą zranione widząc Paola, który przybył w zastępstwie brata, twierdzą, oko. Mężczyźni wracają na pole bitwy. że to najpiękniejszy rycerz na świecie. Siostry żegnają się, gdy Paolo wkracza na dziedziniec. Francesca wręcza mu Akt trzeci różę. Młodzi ludzie, nie zdążywszy zamienić słowa, zako- Francesca czyta dwórkom, zabawiającym ją tańcem chują się w sobie. i śpiewem, historię Ginewry i Lancelota. Gdy jej służąca Smaragdi przynosi wiadomość, że Paolo, który opuścił Akt drugi Rimini, by zapomnieć o Francesce, powrócił, nakazuje Francesca, jako żona Gianciotta, mieszka teraz w Rimini. im wyjść. Zjawia się Paolo i Francesca błaga go, by zostawił Podczas bitwy toczącej się między gibelinami, zwolennika- ją w spokoju, ale on wyznaje jej miłość. Zakochani razem mi cesarza i gwelfami, stronnikami papieża, do których czytają opowieść o Ginewrze i Lancelocie, w której odnaj- należy ród Malatestów, spotyka Paola i zarzuca mu oszu- dują odzwierciedlenie swojego losu. Pocałunkiem przypiei- stwo. Paolo błaga ją o przebaczenie i rzuca się w wir walki, czętowują uczucie. Akt czwarty, część pierwsza Malatestino, beznadziejnie zakochany we Francesce, chcąc ją zdobyć, proponuje, że otruje Gianciotta. Francesca opiera się jego zalotom, a gdy zjawia się mąż, mówi mu o zachowaniu młodszego brata. Oburzony Gianciotto żąda wyjaśnień, a wówczas Malatestino wyjawia, że widział Paola wchodzącego w nocy do pokoju Franceski. Gianciot- to nie chce wierzyć w niewierność żony, Malatestino nama- wia go więc, by tej nocy obaj zaskoczyli kochanków. Akt czwarty, część druga Franceskę męczą złe sny, dwórki starają się ją uspokoić. Nadchodzi Paolo i oboje ponownie wyznają sobie miłość. Kiedy z zewnątrz dobiega ich głos Gianciotta, Paolo pró- buje uciec tajnym przejściem, ale tam czeka na niego brat. Gianciotto zamierza się nożem na Paola, lecz cios dosięga Franceskę, która zasłoniła ukochanego. Gianciotto rani także Paola i kochankowie umierają, obejmując się ramionami. NA PODSTAWIE MATERIAŁÓW THE METROPOLITAN OPERA W NOWYM JORKU PIERO FAGGIONI REŻYSER Włoski reżyser, aktor i scenograf. Jego wielkim sukcesem było wał także Bal maskowy G. Verdiego (1990) z A. Milo (Amelia), przedstawienie Dziewczyny z Zachodu G. Pucciniego z P. D o - L. Pavarottim (Riccardo), J. Ponsem (Renato) i E. Obraztsovą mingiem w roli Dicka Johnsona w Royal Opera House, Covent (Ulryka), był również autorem scenografii tego przedstawienia. Garden (1982), nagranego na płyty DVD. Przedstawienie to zo- Innym jego wielkim sukcesem była Carmen G. Bizeta w La Scali stało wznowione w 2005 r. z J. Curą i A. Gruber w roli Minnie. (1984) – z Sh. Verrett w roli tytułowej, P. Domingiem w roli Don W Metropolitan Opera poza Franceską da Rimini wyreżysero- José i R. Raimondim w roli Escamilla. EVA-MARIA WESTBROEK FRANCESCA (SOPRAN) Holenderka, absolwentka konserwatorium w Hadze. W latach w Dziewczynie z Zachodu G. Pucciniego w Covent Garden 2001–2006 była solistką Staatsoper w Stuttgarcie, gdzie z suk- i De Nederlandse Opera w Amsterdamie, Leonory w Mocy cesem wykonywała m.in. partię Toski w operze G. Pucciniego przeznaczenia G. Verdiego w Théâtre Royal de la Monnaie i Desdemony w Otellu G. Verdiego (przyznano jej zaszczytny w Brukseli, Amelii w Balu maskowym G. Verdiego w Staatsoper tytuł Kammersängerin). Do jej największych osiągnięć zalicza- we Frankfurcie oraz Chrysothemis w Elektrze R. Straussa ne są wykonania partii Katarzyny Izmajłowej w Lady Makbet w Bayerische Staatsoper w Monachium. Na estradzie koncerto- mceńskiego powiatu D. Szostakowicza w De Nederlandse Opera wej występuje z Rotterdam Philharmonic Orchestra pod dyrek- w Amsterdamie, Opéra national de Paris i Covent Garden, cją W. Giergiewa. Słyszeliśmy ją już w partii Sieglinde w Walkirii Elżbiety w Tannhäuserze R. Wagnera i Cesarzowej w Kobiecie R. Wagnera. bez cienia R. Straussa w Opéra national de Paris, Minnie MARK DELAVAN GIOVANNI (BARYTON) Amerykanin, uczestnik Merola Opera Program przy San me R. Straussa (w Gran Teatre del Liceu), tytułową w Holendrze Francisco Opera. Aktualnie ma repertuarze następujące role: tułaczu R. Wagnera (w Atlanta Opera), Jacka Rance’a w Dziew- Jagona w Otellu G. Verdiego i Michele w Płaszczu G. Pucci- czynie z Zachodu G. Pucciniego (w Covent Garden i Duńskiej niego (w Los Angeles Opera), Amonasra w Aidzie G. Verdiego Operze Narodowej) oraz Carla Gérarda w Andrei Chénierze (w Metropolitan Opera i Operze w Bilbao), Scarpii w Tosce U. Giordana, Tomskiego w Damie pikowej P. Czajkowskiego G. Pucciniego (w Covent Garden i Bayerische Staaatsoper), Ger- i Alfia w Rycerskości wieśniaczej P. Mascagniego (w Metropolitan monta w Traviacie G. Verdiego, Thoasa w Ifigenii na Taurydzie Opera). Śpiewa także partię Wotana w Złocie Renu i Walkirii Ch. W. Glucka, Alfia w Rycerskości wieśniaczej P. Mascagniego, oraz Amfortasa w Parsifalu R. Wagnera, a także Renata Tonia w Pajacach R. Leoncavalla i Hrabiego di Luny w Trubadu- w Balu maskowym i tytułową w Falstaffie G. Verdiego. rze G. Verdiego (w Lyric Opera w Chicago), Jochanaana w Salo- MARCELLO GIORDANI PAOLO (TENOR) Włoch, Sycylijczyk. Współpracuje z najsłynniejszymi teata- ra. Z Metropolitan Opera związany jest od roku 1993. Na tej rami operowymi i orkiestrami symfonicznymi, występując scenie występował m.in. w Piracie V. Belliniego, Romeo i Julii w różnorodnym repertuarze: od oper V. Belliniego i G. Donizet- Ch. Gounoda, Łucji z Lammermooru G. Donizettiego, Simonie tiego, przez opery G. Verdiego i G. Pucciniego, do dzieł H. Ber- Boccanegrze (obok P. Dominga) G. Verdiego, a także w Manon lioza. Zadebiutował podczas festiwalu w Spoleto w 1986 r. w roli Lescaut (obok K. Mattili), Madame Butterfly (obok P. Racette), Księcia Mantui w Rigoletcie G. Verdiego. W Stanach Zjedno- Dziewczynie z Zachodu (obok D. Voigt), Turandot (obok czonych Ameryki Północnej po raz pierwszy wystąpił dwa lata M. Guleghiny) G. Pucciniego i Potępieniu Fausta (obok S. Gra- później (w roli Nadira w Poławiaczach pereł G. Bizeta w Portland ham) H. Berlioza. Ostatnio słyszeliśmy go w partii Ernaniego Opera) i od tego czasu datuje się jego międzynarodowa karie- w operze G. Verdiego. ROBERT BRUBAKER MALATESTINO (TENOR) Amerykanin. Karierę wokalną rozpoczął w chórze New York na Salzburger Festspiele i Mostly Mozart Festival. Jego dorobek City Opera jako baryton, by ostatecznie zostać jednym z wiodą- wzbogacają partie z następujących dzieł: Rozkwit i upadek miasta cych tenorów tej sceny, wykonującym partie Alfreda w Travia- Mahagonny K. Weilla, Z martwego
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