Gioachino ROSSINI DEMETRIO E POLIBIO Sofia Mchedlishvili • Victoria Yarovaya César Arrieta • Luca Dall’Amico Camerata Bach Choir, Poznan´ Virtuosi Brunensis Luciano Acocella 2 CDs CD 1 64:23 CD 2 48:06 1 Sinfonia 6:08 Act 2 Gioachino No. 10 Scena ed Aria di Polibio: Act 1 1 Ah che la doglia amara (Coro, Polibio) 4:20 ROSSINI No. 1 Introduzione: 2 Come sperar riposo (Polibio, Siveno, Coro) 5:12 (1792–1868) 2 Mio figlio non sei 5:22 3 Recitativo: Dove vuoi trarmi 0:39 (Polibio, Siveno) (Lisinga, Eumene, Siveno, Polibio) 3 Recitativo: Vanne al tempio, o Siveno 0:45 No. 11 Quartetto: Demetrio e Polibio (Polibio, Siveno) 4 Donami omai Siveno 8:03 Dramma serio per musica in due atti • Libretto di Vincenzina Viganò Mombelli No. 2 Aria di Siveno: (Polibio, Eumene, Lisinga, Siveno) 4 Pien di contento in seno 3:52 5 Recitativo: Vieni, caro, al mio sen 0:53 (Siveno) (Eumene, Siveno) Lisinga ............................................................................................... Sofia Mchedlishvili 5 No. 3 Marcia 0:36 No. 12 Aria di Siveno: 6 Recitativo: Il monarca di Siria al re de’ Parti 3:14 6 Perdon ti chiedo, o padre 5:07 Siveno ................................................................................................... Victoria Yarovaya (Eumene, Polibio) (Siveno) Eumene ........................................................................................................ César Arrieta No. 4 Duetto: No. 13 Recitativo ed Aria di Lisinga: 7 Non cimentar lo sdegno 5:30 7 Io più sposo non ho 4:07 Polibio .................................................................................................... Luca Dall’Amico (Polibio, Eumene) (Lisinga, Polibio) No. 5 Coro, Scena e Cavatina di Lisinga: 8 Superbo, ah! tu vedrai 8 Nobil, gentil donzella (Coro) 1:44 (Lisinga, Coro) 7:15 Camerata Bach Choir, Poznań • Chorus-master: Ania Michalak 9 Deh! fate, amici Dei (Lisinga) 0:34 No. 14 Recitativo ed Aria di Eumene 0 9 Virtuosi Brunensis (Karel Mitáš, Artistic Director) Alla pompa già m’appresso (Lisinga) 1:51 Che feci mai? No. 6 Scena e Duettino: (Eumene) 2:25 Luciano Acocella ! Dell’ara v’appressate (Polibio) 0:21 0 Lungi dal figlio amato @ Music Assistant and Fortepiano: Achille Lampo Questo cor ti giura amore 4:59 (Eumene, Coro) 5:24 (Lisinga, Sivano) No. 15 Marcia e Coro # Recitativo: Sì, mia vita, sarai sempre 1:08 ! Festosi al re si vada 0:44 Recorded live at the Königliches Kurtheater, Bad Wildbad, Germany, 17th and 22th July 2016 (Siveno, Lisinga, Polibio) (Coro) No. 7 Scena ed Aria di Lisinga: @ Recitativo: Oh ciel, che miro! 1:16 for the XXVIII ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) $ Demetrio, de’ Siri re potente 1:28 (Polibio, Eumene) A Co-production with Deutschlandradio Kultur and ROSSINI IN WILDBAD (Polibio, Siveno, Lisinga) No. 16 Finale II: % Sempre teco, ognor contenta 7:02 # Quai moti al cor io sento 2:42 (Lisinga, Siveno, Polibio, Coro) (Lisinga, Siveno, Eumene, Polibio, Coro) Critical edition by Daniele Carnini, edited by Fondazione Rossini, Pesaro ^ Recitativo: Che pensi, o padre 1:04 in collaboration with Casa Ricordi, Milano. (Siveno, Polibio) No. 8 Coro, Scena ed Aria di Eumene & Andiamo taciti (Coro) 1:20 * Amici, già omai propizia (Eumene) 1:15 ( All’alta impresa tutti (Eumene, Coro) 6:05 ) No. 9 Finale I: Mi scende nell’alma 10:06 (Lisinga, Eumene, Siveno, Polibio, Coro) Gioachino Rossini (1792-1868) appeared in Bologna during Lent 1809 at the Teatro del Corso. As early as 1824 Stendhal mentioned that “Mombelli too This is documented in the published libretto of La distruzione di had worked on the music”. With reference to the critical edition Sigismondo Gerusalemme. Could that have been the opera which Rossini of the Fondazione Rossini Daniele Carnini has analysed the wrote down from memory and so impressed Mombelli? Most numbers and sources and summarised the suppositions thus: Rossini’s “Family opera” pretended, or believed, that he made the acquaintance of probably not. For one thing, we do not know where Rossini “Concerning the question of the allocation of tasks we can only Mombelli as a 13-year old and that he had written Demetrio was living at this time – at any rate he was not in attendance guess at what actually happened. Rossini was responsible for The genesis of Demetrio e Polibio has lodged itself in the e Polibio some four or five years before its première. It also at the Liceo, which is probably indicative of an out-of-town Siveno’s first aria, the duet (including that which forms the collective memory of Rossinians primarily as Rossini himself emerges from the conversation with Hiller that Rossini was engagement. Then again La distruzione di Gerusalemme was introduction), the quartet and the first finale. All other numbers described it to his friend Ferdinand Hiller in September supposed to have written the whole opera already, even before the work of Pietro Carlo Guglielmi, while Rossini definitely are open to debate. The overture is certainly not by Rossini 1855 in Trouville. According to this, Rossini received the he commenced his studies with Father Mattei. According mentioned Portogallo (Marcos António Portugal). (stylistically and according to several sources which attribute commission for specific numbers from the tenor Domenico to the registers of the Liceo musicale Rossini attended the In 1992 Marco Beghelli came to the conclusion that an it to Mombelli).” Mombelli, whom he had previously impressed by having music school from the 15th April 1806 and from May 1807 he opera by Portugal was first performed by the Mombellis in the Although the libretto is not directly modelled on any drama written down from memory a complete opera which he played received lessons in counterpoint from Mattei. So, at an outside summer of 1810 and that consequently the closer acquaintance by Metastasio, it does exhibit some structures and forms of his through himself. estimate, Demetrio would have been composed in the spring with the young Rossini took place at that particular time. In style. So the opera opens with a simple duet, whereas Rossini’s Today, around 200 years later, we can take stock of of 1807. The precise details of his age as thirteen is consistent July the Mombellis gave twenty performances of Portugal’s future introductions adopt proportions which act as a foil to the first certain things better than Rossini had remembered them with this date, the age which he gave of his first getting to “dramma serio” Omar re di Termagene at the Teatro del Corso, finale. Immediately following the opening duet with Polibio, Siveno at a distance of more than 45 years. He recounted how the know Mombelli, which would have been in the year 1805. If with great success. At this time Rossini was certainly living sings his aria. Then Eumene also presents himself in a duet and opera had been premièred in Milan without his knowledge. one calculates four or five years back from the date of the in Bologna, as is testified by his involvement in two concerts not actually with an aria on his first appearance (such as Mombelli In fact the opera was put on for the first time on 18th May first performance (May 1812) which is supposed to separate it there on 13th July and 9th August 1810. There is yet more. added only later). It is striking that, in each case, both of the tenor’s 1812 at the Teatro Valle in Rome. Only ten days later Rossini from its composition, it follows that, in a perfect world, the work On 13th July a quartet by Rossini was performed by the big numbers are placed shortly before the finale; Papa Mombelli himself wrote from Venice to his mother in Bologna: “The dates from the spring of 1807. Furthermore, his reference to singers Brida, Malanotte, Babini and Lainer. Babini directs us clearly wanted to have the last word, so to speak, before the Rome opera has been well received, for I have read good the singing teacher Babini gives support to the dating of 1806– once more to Hiller’s testimony, and it could well have been general finales. Anna Mombelli, the younger and less promising things about it in the newspaper.” This reaction does not 7. An article in a newspaper of 29th June 1806 carried a review on the subject of the quartet “Donami omai Siveno” from of the two sisters, has only two small solo arias as Siveno. By suggest that the performance came as a complete surprise to of a concert in which Babini and Rossini appeared together, Demetrio e Polibio. Even if the performances of Portugal’s contrast Ester has an opening aria, which leads into a short scene Rossini. It seems reasonable to suppose that Mombelli who, a fact which indicates that at that time Rossini was enjoying opera in Bologna and the concert with the quartet were so and then to a charming duet with Siveno, followed moments later like Rossini, lived in Bologna, had informed him of this tour. singing lessons from the once famous tenor. close together that Rossini’s story lacked plausibility à la by a big aria with chorus; in the second act she has a similar prima Shortly afterwards the young composer found himself in At the same time, the Mombellis first took up residence lettre, it seems that the genesis of Demetrio e Polibio is most donna number once more. In all the arias for Polibio, Eumene Milan where he was to compose La pietra del paragone for in Bologna in 1808. Domenico Mombelli (1755–1835) was probably consistent with the year 1810. It might well be that and Lisinga there is an attempt to reinforce the soloistic parts with La Scala. On 11th July 1812 he wrote home: “Here numbers a distinguished tenor who was also active in Vienna. It was he composed several numbers only in 1811.