Description
Opera Rara presents a new Opera Rara Classics boxset with a limited edition of three sought-after opere serie by Gioachino Rossini, performed by international bel canto champions, including Gregory Kunde, Jennifer Larmore, Carmen Giannattasio and Ildebrando D’Arcangelo.
Premiered only ten months apart in 1819, these three operas fell out of the repertoire soon after Rossini’s death but have, over the last few decades, been rehabilitated in the operatic canon for the joy of Rossini lovers.
Remastered to the best audio quality and featuring a specially commissioned essay by Rossini specialist Eleonora Di Cintio, these recordings, unavailable for many years, will delight opera collectors and Rossini fans.
This boxset is an 8-CD clamshell containing a 48-page booklet. The booklet features an essay about Rossini in 1819, as well as the cast list, track listing and a detailed synopsis for the 3 operas.
The complete libretti in Italian and English translation are available for free download in a PDF format at the following links:
Cast
ERMIONE (2 CDs, 2h14mn)
Azione tragica in 2 acts - Libretto by Andrea Leone Tottola
Premiered on 27 March 1819 at the Teatro San Carlo, Naples
Carmen Giannattasio (Ermione), Rebecca Bottone (Cleone), Patricia Bardon (Andromaca), Colin Lee (Oreste), Paul Nilon (Pirro)
Geoffrey Mitchell Choir, London Philharmonic Orchestra, David Parry – conductor
Recorded at Henry Wood Hall, London, March 2009
'Ermione' is, without doubt, one of the greatest operas by Rossini, despite it being perhaps the least immediately successful. The composer was resigned: ‘It is my little 'Guillaume Tell' in Italian,’ he said,
and will not see the light of day until after my death.’ Rossini was right since after 'Ermione'’s revival in Pesaro in 1987, it has been unanimously recognised as a lost masterpiece.
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LA DONNA DEL LAGO (3 CDs, 2h40mn)
Melodramma in 2 acts - Libretto by Andrea Leone Tottola
Premiered on 24 September March 1819 at the Teatro San Carlo, Naples
Gregory Kunde (Rodrigo di Dhu), Carmen Giannattasio (Elena), Patricia Bardon (Malcolm Groeme), Kenneth Tarver (Giacomo V), Robert Gleadow (Douglas d’Angus)
Edinburgh Festival Chorus, Scottish Chamber Orchestra, Maurizio Benini – conductor
Recorded at the Usher Hall during the 2006 Edinburgh International Festival, 'La donna del lago' was the first Italian opera to be based on a work by Sir Walter Scott, the narrative poem 'The Lady of the Lake'. This opera marks a milestone in the development of romanticism in Rossini’s composition and was one of the most successful of all his serious operas, yielding many performances throughout European venues, as well as being presented in Cuba and in many major South American houses until the end of the 1860s.
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BIANCA E FALLIERO ossia Il consiglo dei tre (3 CDs, 3h00mn)
Melodramma in 2 acts - Libretto by Felice Romani
Premiered on 26 December 1819 at Teatro La Scala, Milan
Majella Cullagh (Bianca), Jennifer Larmore (Falliero), Barry Banks (Contareno), Ildebrando D’Arcangelo (Capellio),
Geoffrey Mitchell Choir, London Philharmonic Orchestra, David Parry – conductor
'Bianca e Falliero' is set within war-torn Venice in the 17hth century. It tells the story of Bianca, in love with the Venetian general Falliero, and her resistance to marry Capellio, a member of a rival clan.
This opera, which is one of Rossini’s most sumptuous and ornate, is considered very difficult to sing due to the intensity of its coloratura writing.
Tracklist
CD1 – ERMIONE (Act I)
ACT ONE
[1] Ermione: Sinfonia (Chorus)
[2] Ermione: ‘Troia! qual fosti un dì!’ (Chorus, Fenico, Andromaca, Cefista, Attalo)
[3] Ermione: ‘Mia delizia’ (Andromaca)
[4] Ermione: ‘Sposo! Ettore! Io ti perdei!’ (Andromaca, Cefista, Fenicio, Attalo, Chorus)
[5] Ermione: ‘All’ombra del tuo sposo’ (Attalo, Andromaca, Fenicio)
[6] Ermione: ‘Dall’Oriente’ (Cleone, Chorus)
[7] Ermione: ‘A tante cure, o amiche’ (Ermione, Pirro)
[8] Ermione: ‘Non proseguir! comprendo’ (Ermione, Pirro)
[9] Ermione: ‘Ah! m’odia già l’ingrato!’ (Ermione, Pirro)
[10] Ermione: ‘Sul lido, di Agamennone’ (Chorus, Pirro, Ermione)
[11] Ermione: ‘Venga il greco orator’ (Pirro, Ermione, Cleone)
[12] Ermione: ‘Reggia abborrita!’ (Oreste, Pilade)
[13] Ermione: ‘Che fia di te, se tal mollezza a Pirro’ (Pilade, Oreste)
[14] Ermione: Marcia
[15] Ermione: ‘Mi guarda, e impallidisce!’ (Ermione, Oreste, Pilade, Pirro, Andromaca, Fenicio, Attalo)
[16] Ermione: ‘Balena in man del figlio’ (Pirro, Ermione, Andromaca, Oreste, Pilade, Fenicio, Chorus)
[17] Ermione: ‘Deh serena i mesti rai’ (Pirro, Ermione)
[18] Ermione: ‘Non pavento’ (Pirro, Ermione, Oreste, Andromaca, Pilade, Chorus)
[19] Ermione: ‘Periglioso è il restar’ (Pilade, Andromaca, Fenicio)
CD2 – ERMIONE (Act I continued & Act II)
[1] Ermione: ‘E Pirro ancor di tanti oltraggi ad onta’ (Cleone, Ermione, Oreste)
[2] Ermione: ‘Amarti?’ (Ermione, Oreste)
[3] Ermione: ‘Anime sventurate’ (Ermione, Oreste)
[4] Ermione: ‘Alfin l’eroe da forte’ (Chorus, Ermione, Oreste)
[5] Ermione: ‘Dal valor de’ detti tuoi’ (Pirro, Cleone, Pilade, Fenicio, Ermione, Andromaca, Cefisa, Attalo, Oreste)
[6] Ermione: ‘Sperar… Temer… Poss’io?’ (Ermione, Pilade, Oreste, Pirro, Andromaca, Cleone, Cefisa, Attalo, Fenicio)
[7] Ermione: ‘A me Astianatte’ (Pirro, Andromaca, Ermione, Oreste, Fenicio)
[8] Ermione: ‘Pirro, deh serbami’ (Ermione, Pirro, Cleone, Cefisa, Oreste, Pilade, Attalo, Andromaca, Fenicio, Chorus)
ACT TWO
[9] Ermione: ‘Liete novelle, o Sire!’ (Andromaca, Cefisa, Cleone, Pirro, Attalo)
[10] Ermione: ‘Ombra del caro sposo!’ (Andromaca, Pirro)
[11] Ermione: ‘Vieni a giurar’ (Pirro, Andromaca)
[12] Ermione: ‘Sia compiuto il mio fato’ (Andromaca, Ermione, Fenicio, Cleone)
[13] Ermione: ‘Essa corre al trionfo!’ (Ermione)
[14] Ermione: ‘Ah! voglia il Ciel’ (Fenicio, Cleone, Ermione)
[15] Ermione: ‘Amata, l’amai’ (Ermione, Cleone, Chorus)
[16] Ermione: ‘Un’empia mel rapì!’ (Ermione)
[17] Ermione: ‘Il tuo dolor ci affretta…’ (Chorus, Ermione, Oreste)
[18] Ermione: ‘Ah! qual sovrasta a Pirro’ (Fenicio, Pilade)
[19] Ermione: ‘A così trista immagine’ (Fenicio, Pilade)
[20] Ermione: ‘Che feci? dove son?’ (Ermione)
[21] Ermione: ‘Vendicata!’ (Ermione, Oreste)
[22] Ermione: ‘Ah! ti rinvenni’ (Pilade, Ermione, Oreste, Chorus)
CD3 – LA DONNA DEL LAGO (Act I)
ACT ONE
[1] La donna del lago: Sinfonia
[2] La donna del lago: ‘Del dì la messaggiera’ (Chorus)
[3] La donna del lago: ‘Oh mattutini albori!’ (Elena)
[4] La donna del lago: ‘Qual suon! Sull’alta rocca’ (Elena, Uberto)
[5] La donna del lago: ‘Scendi nel piccol legno’ (Elena, Uberto)
[6] La donna del lago: ‘Uberto! ah! dove t’ascondi? (Chorus)
[7] La donna del lago: ‘E in questo dì?’ (Albina, Serano)
[8] La donna del lago: ‘Sei già nel tetto mio’ (Elena, Uberto)
[9] La donna del lago: ‘D’Inibaca’ (Chorus, Uberto, Elena)
[10] La donna del lago: ‘Sei già sposa? ed è Rodrigo’ (Uberto, Elena)
[11] La donna del lago: ‘Quali accenti!’ (Uberto, Elena)
[12] La donna del lago: ‘Ma son sorpreso’ (Uberto, Elena, Chorus)
CD4 – LA DONNA DEL LAGO (Act I end)
[1] La donna del lago: ‘Mura felici, ove il mio ben si aggira!’ (Malcom)
[2] La donna del lago: ‘Elena! oh tu, che chiamo!’ (Malcom)
[3] La donna del lago: ‘Oh quante lagrime finor versai’ (Malcom)
[4] La donna del lago: ‘Signor, giungi opportuno’ (Serano, Malcom, Douglas, Elena)
[5] La donna del lago: ‘Taci, lo voglio, e basti’ (Douglas)
[6] La donna del lago: ‘E nel fatal conflitto’ (Elena)
[7] La donna del lago: ‘Vivere io non saprò’ (Elena, Malcom)
[8] La donna del lago: ‘Qual rapido torrente’ (Chorus)
[9] La donna del lago: ‘Eccomi a voi, miei prodi’ (Rodrigo, Chorus)
[10] La donna del lago: ‘Ma dov’è colei’ (Rodrigo)
[11] La donna del lago: ‘Premio di dolci ardori’ (Chorus, Rodrigo)
[12] La donna del lago: ‘Alfin mi è dato’ (Douglas, Rodrigo)
[13] La donna del lago: ‘Vieni, o stella che lucida e bella’ (Chorus)
[14] La donna del lago: ‘Quanto a quest’alma amante’ (Rodrigo, Douglas, Elena)
[15] La donna del lago: ‘La mia spada’ (Malcom, Elena, Douglas)
[16] La donna del lago: ‘Questo amplesso a te fia pegno’ (Rodrigo, Malcom, Douglas, Elena)
[17] La donna del lago: ‘Crudele sospetto’ (Rodrigo, Elena, Malcom, Douglas, Albina, Chorus)
[18] La donna del lago: ‘Sul colle a Morve opposto’ (Serano, Chorus, Douglas, Rodrigo, Elena, Malcom, Chorus)
[19] La donna del lago: ‘Già un raggio forier’ (Chorus, Albina, Rodrigo, Douglas)
[20] La donna del lago: ‘Su… amici! guerrieri!’ (Malcom, Rodrigo, Douglas, Albina, Elena, Chorus)
CD5 – LA DONNA DEL LAGO (Act II)
ACT TWO
[1] La donna del lago: ‘Oh fiamma soave’ (Uberto)
[2] La donna del lago: ‘Sì, per te, mio tesoro’ (Uberto, Elena, Serano)
[3] La donna del lago: ‘Alla ragion deh rieda’ (Elena, Uberto)
[4] La donna del lago: ‘Nume! se a’ miei sospiri’ (Elena, Uberto)
[5] La donna del lago: ‘Qual pena in me già desta’ (Elena, Uberto, Rodrigo)
[6] La donna del lago: ‘Parla… chi sei?’(Elena, Rodrigo, Uberto, Chorus)
[7] La donna del lago: ‘Quante sciagure in un sol giorno aduna’ (Albina, Malcom, Serano)
[8] La donna del lago: ‘Ah si pera’ (Malcolm)
[9] La donna del lago: ‘Douglas! Douglas! ti salva’ (Chorus, Albina, Serano, Malcolm)
[10] La donna del lago: ‘E tanto osasti?’(Giacomo, Douglas, Bertram)
[11] La donna del lago: ‘Attendi: il Re fra poco’ (Bertram, Elena)
[12] La donna del lago: ‘Che sento!’ (Elena, Giacomo)
[13] La donna del lago: ‘Stelle! sembra egli stesso!’ (Elena, Giacomo)
[14] La donna del lago: ‘Imponga il Re’ (Chorus)
[15] La donna del lago: ‘Ah! che vedo! qual fasto! (Elena, Giacomo, Douglas, Malcom)
[16] La donna del lago: ‘Tanti affetti in tal momento’ (Elena, Chorus)
CD6 – BIANCA E FALLIERO (Act I)
ACT ONE
[1] Bianca e Falliero: Sinfonia
[2] Bianca e Falliero: ‘Dalle lagune Adriache’ (Chorus)
[3] Bianca e Falliero: ‘Pace alfin per l’Adria splende’ (Contareno, Capellio)
[4] Bianca e Falliero: ‘Esce il Doge’ (Chorus, Contareno, Capellio)
[5] Bianca e Falliero: ‘Ministri del Consiglio’ (Doge, Capellio, Contareno, an Official)
[6] Bianca e Falliero: ‘Viva Fallier’ (Chorus)
[7] Bianca e Falliero: ‘Inclito Prence’ (Falliero, Doge, Falliero)
[8] Bianca e Falliero: ‘Se per l’Adria il ferro strinsi’ (Falliero, Chorus)
[9] Bianca e Falliero: ‘Il ciel custode’ (Falliero, Chorus)
[10] Bianca e Falliero: ‘Grata Vinegia’ (Doge)
[11] Bianca e Falliero: ‘Negli orti di Flora’ (Chorus)
[12] Bianca e Falliero: ‘Come sereno è il dì!’ (Bianca)
[13] Bianca e Falliero: ‘Della rosa il bel vermiglio’ (Bianca, Chorus)
[14] Bianca e Falliero: ‘Oh! serto beato’ (Bianca, Chorus)
[15] Bianca e Falliero: ‘Costanza? ebben? che rechi?’ (Bianca, Costanza, Contareno)
[16] Bianca e Falliero: ‘Se l’amor mio ti è caro’ (Contareno, Bianca)
[17] Bianca e Falliero: ‘Pensa che omai resistere’ (Contareno, Bianca, Chorus)
[18] Bianca e Falliero: ‘Figlia mia, se forza al core’ (Contareno, Bianca)
[19] Bianca e Falliero: ‘Il piacer di mia ventura’ (Chorus, Bianca, Contareno)
CD7 (Act I end)
[1] Bianca e Falliero: ‘Mai con maggior coraggio’ (Falliero, Costanza)
[2] Bianca e Falliero: ‘Divisi noi!’ (Bianca, Falliero)
[3] Bianca e Falliero: ‘Sappi che un rio dovere’ (Bianca, Falliero)
[4] Bianca e Falliero: ‘Ciel! qual destin terribile’ (Bianca, Falliero)
[5] Bianca e Falliero: ‘Deh! va’, ti scongiuro…’ (Bianca, Falliero)
[6] Bianca e Falliero: ‘Ella mi fugge’ (Falliero, Costanza)
[7] Bianca e Falliero: ‘Fausto imene’ (Chorus)
[8] Bianca e Falliero: ‘Sì, congiunti’ (Contareno, Capellio, Chorus)
[9] Bianca e Falliero: ‘Bianca, alla mia ventura’ (Capellio, Bianca, Contanero)
[10] Bianca e Falliero: ‘Ecco espressi in questo foglio’ (Contanero, Capellio, Bianca, Chorus)
[11] Bianca e Falliero: ‘Importuno! in qual momento’ (Falliero, Bianca, Capellio, Contareno, Chorus)
[12] Bianca e Falliero: ‘Con qual dritto il piè ponesti’ (Contareno, Falliero, Capellio, Bianca, Chorus)
CD8 (Act II)
ACT TWO
[1] Bianca e Falliero: ‘Al mio timor, deh! cedi’ (Bianca, Costanza)
[2] Bianca e Falliero: ‘Dell’onor tuo!’ (Falliero, Bianca)
[3] Bianca e Falliero: ‘Va’ crudel’ (Falliero, Bianca)
[4] Bianca e Falliero: ‘Ch’io t’abbracci…’ (Falliero, Bianca)
[5] Bianca e Falliero: ‘Fermate! siam perduti’ (Costanza, Bianca, Falliero, Contareno, Capellio)
[6] Bianca e Falliero: ‘Come potesti, indegna’ (Contareno, Bianca, Capellio)
[7] Bianca e Falliero: ‘Non proferir tal nome’ (Contareno, Bianca)
[8] Bianca e Falliero: ‘Cadde il fellone’ (Contareno, Bianca)
[9] Bianca e Falliero: ‘Prendi il foglio’ (Capellio, Contareno, Bianca)
[10] Bianca e Falliero: ‘Sorte amica’ (Contareno, Bianca)
[11] Bianca e Falliero: ‘Ah! qual notte di squallore’ (Chorus)
[12] Bianca e Falliero: ‘Qual funebre apparato’ (Falliero)
[13] Bianca e Falliero: ‘Alma, ben mio, sì pura’ (Falliero)
[14] Bianca e Falliero: ‘Vieni, signor’ (Chancellor, Falliero)
[15] Bianca e Falliero: ‘Tu non sai qual colpo atroce’ (Falliero, Chorus)
[16] Bianca e Falliero: ‘Lasso! cessar di vivere’ (Falliero)
[17] Bianca e Falliero: ‘Ma più che onore e vita’ (Falliero, Chorus)
[18] Bianca e Falliero: ‘No, non è reo’ (Chancellor, Contareno, Capellio)
[19] Bianca e Falliero: ‘Donna chi sei?’ (Contareno, Bianca, Capellio, Chorus)
[20] Bianca e Falliero: ‘Cielo, il mio labbro inspira’ (Bianca, Falliero, Contareno, Capellio)
[21] Bianca e Falliero: ‘Parla dunque’ (Contareno, Bianca, Capellio, Falliero, Chorus)
[22] Bianca e Falliero: ‘Grazie o Cielo!’ (Bianca, Falliero, Contareno, Capellio, Chorus)
[23] Bianca e Falliero: ‘Inoltra il dì… lassa!’ (Costanza, Capellio)
[24] Bianca e Falliero: ‘Vieni, vieni: per te tremante’ (Chorus)
[25] Bianca e Falliero: ‘Perdona, o mia Costanza’ (Bianca, Costanza)
[26] Bianca e Falliero: ‘Teco resto: in te rispetto’ (Falliero, Bianca, Capellio, Contareno)
[27] Bianca e Falliero: ‘Oh padre! oh eroe benefico!’ (Bianca, Falliero, Capellio, Contareno, Chorus)
English
ERMIONE – SYNOPSIS
Following the fall of Troy, the surviving members of the Trojan royal family have become the slaves of one or another of their Greek conquerors. Andromaca (Andromache), the widow of Hector, has, together with her young son Astianatte (Astyanax), fallen to the lot of Pirro (Pyrrhus), the son of Achilles, who has taken them home with him to his kingdom of Epirus. He has, however, fallen in love with Andromaca, and has thus incurred the jealousy and wrath of Ermione (Hermione), the daughter of Menelaus and Helen, whom he had previously engaged himself to marry. The sympathies of the Greek commanders lie with Ermione, though for political reasons. The fact that Astianatte is the sole male survivor of the Trojan royal line raises fears that he could one day take up again the Trojan cause and so threaten the safety of Greece.
ACT ONE
A subterranean dungeon in Buthrotum, the capital of Epirus.
As night draws to a close, Trojan prisoners lament their fate. Little Astianatte is asleep, watched over by guards. Andromaca is led in by Fenicio, Pirro’s counsellor and former tutor. Attalo, a confidant of Pirro, and Cefisa, Andromaca’s confidante, follow closely. Andromaca awakens Astianatte and embraces him (‘Mia delizia!), while the others try to comfort her. Attalo insinuates that she should yield to Pirro’s love (‘All’ombra del tuo sposo’), and so obtain her son’s release, but Andromaca is not to be deflected from her grief, especially when Fenicio accuses Attalo of acting with ulterior motives: all he really wishes to do, he suggests, is stir up war between Pirro and the Greek commanders. Andromaca has been granted only an hour in which to see her son, and Fenicio, despite himself, is obliged to lead her away.
An open-air part of the palace, with gardens adjoining.
Day is dawning as Cleone, Ermione’s attendant and confidante, enters at the head of a group of Spartan maidens to invite her mistress to go hunting (‘Dall’Oriente’). Grateful though Ermione is, she declines: she can think of nothing but her jealousy of Andromaca and her wish for revenge (‘A tante cure’). Pirro enters, impatient for the return of Andromaca from the prison. At first he does not see Ermione; when he does, he tries to avoid her (‘Non proseguir!’). He soon finds himself assailed with reproaches and sarcasm, all of which he proudly and scornfully rejects (‘Ah! m’odia già l’ingrato!). A group of noblemen brings word that Oreste (Orestes), the son of Agamemnon, has just arrived on the shore, as the ambassador of the Greek commanders (‘Sul lido, di Agamennone’). His name fills Pirro with foreboding – but Ermione is full of joy, since Oreste is her former lover, whom she rejected in favour of Pirro. She sees him now as a possible tool to secure her revenge. Pirro prepares to receive Oreste in the great hall of the palace. As he leaves, he orders that Ermione and Andromaca both be present (‘Venga il greco orator’).
Ermione is dismayed, seeing the order that Andromaca should be present as evidence that her rival will soon supplant her and be raised to the throne. Cleone encourages her to foster Oreste’s still passionate feelings, and so manipulate him to her advantage.
The hall of audience.
Oreste enters, accompanied by Pilade. The sight of the palace that now houses Ermione fills him with distress: he is still in love with her, but believes that she is deaf to his tears and exults in his suffering (‘Reggia abborrita!’). Pilade urges him to set his personal feelings aside and to concentrate on his ambassadorial mission (‘Che fia di te, se tal mollezza a Pirro’). Pirro advances, accompanied by Ermione and the courtiers. Andromaca is the last to enter, her very presence exciting Ermione’s ire. Pirro, however, insists that her former state demands respect, and has her seated in a place of dignity. Oreste declares his mission. It had earlier been announced that Astianatte had been put to death, but the Greek commanders are only too well aware that the victim was a mere scapegoat, killed in the true Astianatte’s place. Given the potential threat that Astianatte’s continued existence poses to Greece, the commanders now demand that he be executed forthwith. Pirro reserves the right to dispose of him as he sees fit, even voicing the possibility that he may one day share his throne with him (‘Balena in man del figlio’). Oreste interprets this as a declaration of open rebellion, and Pirro, provoked beyond measure, tells Ermione to return to Sparta and publicly offers his hand to Andromaca (‘Non pavento’). He leaves with his followers, and the audience breaks up. Andromaca asks Fenicio to conduct her to Pirro: she wishes to inform him, beyond all possibility of misunderstanding, that she will never be his wife (‘Periglioso è il restar’).
The open-air part of the palace, as in Scene 2.
Ermione tries to convince Cleone that she now detests Pirro as much as she once loved him. Cleone, retiring as she sees Oreste approaching, urges her to twist him to her purpose (‘E Pirro ancor di tanti oltraggi ad onta’). Instead of having to suffer reproach, Ermione finds herself addressed with fervent words of love. Although Oreste thus plays straight into her hands, she at least has the honesty to say that, since Pirro has torn her heart from her breast, she would dearly like to promote Oreste’s peace of mind, but has no love left to give him (‘Amarti?’). They are interrupted by Pirro and his followers (‘Alfin l’eroe da forte’). Pirro makes the unexpected announcement that, thinking better of his earlier rejection of Oreste’s demands, he has realised that he was swayed by compassion for Astianatte and is now ready to hand him over (‘Dal valor de’ detti tuoi’). He declares that he wishes peace with the rest of Greece and offers his hand to Ermione as a pledge of his word. All are taken aback, and Andromaca is filled with dismay at the thought of Astianatte’s threatened fate, especially as she realises that Pirro’s intransigence results from her own refusal to yield to his wishes (‘Sperar… temer… poss’io?’). Pirro orders Astianatte to be brought before him and is in the act of handing him over when Andromaca appeals to him for further time to reflect (‘A me Astianatte’). Pirro orders the guards to delay, and once again the expectations of all are reversed. Ermione sees her advantage evaporate, and rebukes Pirro, only to hear herself branded as a tigress and a fury, while Andromaca secretly determines to lay down her own life rather than sacrifice that of her son (‘Pirro, deh serbami’). The act ends in universal dismay, antagonism and bewilderment.
ACT TWO
An atrium of the palace, with the sea
visible in the distance through a colonnade.
Attalo brings Pirro news that Andromaca has at last yielded, and Cleone, who has been eavesdropping, steals away to inform Ermione (‘Liete novelle, o Sire!’). Andromaca herself, a moment later, confirms that she has decided to succumb to Pirro’s wishes, and he, overjoyed, sends Attalo to the temple to prepare for the celebration, and then on to the prison to set Astianatte free. In a series of asides Andromaca makes clear that, once she has secured Astianatte’s safety, she has every intention of taking poison. Pirro may lead her to the altar, but he will find himself marrying a corpse (‘Vieni a giurar sull’ara’). A moment after Pirro has left her, she finds herself confronted by Ermione and Fenicio. Ermione is beside herself with anger, convinced that Andromaca has been laying out all her arts to secure this outcome. Rather than suffer such unjust accusations and insults, Andromaca takes her leave (‘Sia compiuto il mio fato’). In despair, Ermione beseeches Fenicio to seek Pirro out and plead her cause; he departs to do so (‘Essa corre al trionfo!’). Cleone now tries to fan her mistress’s resentment against Pirro, but finds her utterly distraught and beyond all persuasion (‘Ah! voglia il Ciel’). ‘Loved’, as Ermione puts it, ‘I loved him; I adore him now that I am despised.’ (‘Amata, l’amai’). Sounds of a festive march are heard, and Pirro’s wedding procession crosses the back of the stage: he is seen holding Andromaca by the hand. Ermione feels utterly demoralised (‘Un’empia mel rapì!’). When Oreste appears and asks how she can be avenged, she presents him with a dagger and bids him to bury it in Pirro’s heart (‘Il tuo dolor ci affretta’). Confused and appalled, Oreste leaves and Ermione, although she is still sufficiently rational to recognise the irony of deriving a cure from a crime, departs in mounting frenzy. Fenicio, encountering Pilade, informs him of the failure of his mission: an infatuated Pirro refused to listen to him and ordered him from his presence (‘Ah! qual sovrasta a Pirro’). Pilade is appalled: he is certain that a marriage between Pirro and Andromaca will provoke Agamemnon and the Greeks into besieging Epirus (‘A così trista immagine’). Ermione returns, increasingly distraught, a prey to conflicting emotions and incapable of rational thought (‘Che feci? dove son?’). The final straw to drive her to the brink of insanity comes when Oreste returns to present her with a bloody dagger, the proof that Pirro is dead – although he confesses that he did not strike the blow himself but entrusted the weapon to another hand (‘Vendicata!’). His reward is to find himself reviled and execrated as she reveals her hatred for him and invokes the Furies to destroy him. Pilade and his followers rescue him from the revenge of the people, and, in a state of moral and physical collapse, he allows himself to be dragged to his waiting ship (‘Ah! ti rinvenni!’). Ermione, seeing him escape her wrath, collapses in a deathly swoon.
© Jeremy Commons
English
LA DONNA DEL LAGO – SYNOPSIS
ACT ONE
The Scottish mountain of Benledi, with Loch Katrine nestling in a valley at its foot.
As dawn breaks, huntsmen cross the slopes while shepherds and shepherdesses set out to their day’s work in the valley (‘Del dì la messaggiera’). A small skiff appears on the loch: Elena, the Lady of the Lake, is at the oars and sings an aubade in which she greets the dawn but regrets the continuing absence of the man she loves, Malcom Groeme (‘Oh mattutini albori!’). As she reaches the shore and disembarks, she is hailed by a huntsman whom we soon identify as Uberto, Knight of Snowdon. Declaring that he has been separated from his companions and has lost his bearings, he asks her help, and she offers him the hospitality of her rustic cabin on an island in the middle of the loch (‘Scendi nel piccol legno’). Uberto, who feels amorously drawn towards her, accepts her invitation, steps into her skiff and accompanies her across the lake. Huntsmen, Uberto’s companions, descend from the cliffs in search of him (‘Uberto! ah! dove t’ascondi?’). They disperse in different directions, agreeing that the first who catches sight of him should signal his discovery to the others.
The island dwelling of Elena and her father, Douglas d’Angus. A rustic cabin, its walls decorated with weapons.
Douglas, formerly the tutor of King Giacomo V (James V) of Scotland but now out of favour and exiled, has been given shelter here by Rodrigo di Dhu (Roderick Dhu), the formidable chief of the Highlanders. Serano, one of Douglas’s followers, informs Albina, Elena’s attendant, that Rodrigo is expected there that very day (‘E in questo dì?’). His purpose in coming is to gather his clansmen in resistance to Giacomo, who is endeavouring to bring the Highlands under his central control. Albina anticipates the coming of Rodrigo with some concern, since she is aware that Douglas, in gratitude for the hospitality and protection he has received, has promised his host Elena’s hand in marriage. Yet she also knows that Elena, already in love with Malcom, is unable to reciprocate Rodrigo’s passion. Uberto, ushered in by Elena, is surprised to see the weapons adorning the walls, especially since he is certain he recognises them as belonging to Douglas, from whom he has been so long estranged (‘Sei già nel tetto mio’). He is clearly ill at ease and becomes increasingly anxious to depart when Elena confirms that Douglas is her father. Elena’s female companions enter to give her their morning greeting, but strike an unwelcome note as they remind her of Rodrigo’s suit: her reaction is one of dismay, while Uberto betrays signs of jealousy (‘D’Inibaca’). He guesses correctly that she loves someone other than Rodrigo, but, misled by the strength of his own feelings, incorrectly assumes that he is the object of her affection (‘Quali accenti!’). Elena offers him a draught of beer by way of Highland hospitality and accedes to his wish to depart and rejoin his companions (‘Ma son sorpreso’). She refuses, however, to allow him to kiss her hand, telling him that no such strange customs are practised in the Highlands. She retires to her apartments; Albina ferries Uberto back to shore. The stage is no sooner empty than Malcom appears, returning after an absence of several months (‘Mura felici’). His happiness is qualified by fear that Elena may yet be snatched from him, and he is relieved when, standing aside to witness the manner in which she greets her father, who also returns at this moment, he notes that she tries to prevaricate and deflect any talk of marriage by saying that the unsettled times render such ideas untimely. Douglas, unaccustomed to having his wishes thwarted, sternly rebukes her, but then, hearing a distant fanfare of trumpets, goes to welcome Rodrigo (‘Taci, lo voglio’). Malcom comes forward to embrace Elena, and together they renew their declarations of love and loyalty (‘Vivere io non saprò’).
A plain surrounded by mountains, with a distant view of Loch Katrine.
Rodrigo is joyfully acclaimed by the clansmen (‘Qual rapido torrente’) and welcomed by Douglas (‘Alfin mi è dato’), but less ardently greeted by Elena (‘Quanto a quest’alma amante’). Her evident confusion arouses his suspicions that her heart may belong elsewhere, and these suspicions are intensified when Malcom, entering to greet him (‘La mia spada’), betrays shock and dismay when he hears Rodrigo’s hopes of marrying Elena (‘Questo amplesso a te fia pegno’). Personal tensions are, however, set aside as Serano brings news that Giacomo’s forces are advancing towards them (‘Sul colle a Morve opposto’). Rodrigo calls on a band of bards to arouse all to battle-pitch (‘Già un raggio forier’), and the clansmen swear either to conquer or die. At this moment a meteor flashes across the sky. Rodrigo and Douglas interpret this as a favourable omen and, while the women retire in Elena’s wake, the clansmen march to battle (‘Su… amici! guerrieri!’).
ACT TWO
A thick wood with a cave on the side where Douglas has brought Elena for safety.
Uberto enters, disguised as a peasant (‘Oh fiamma soave’). The passion that he has conceived for Elena has brought him here at his peril, but he is disconcerted when she scarcely remembers him, and even more abashed when he hears that she had interpreted his compliments as expressions of courtesy rather than of love (‘Alla ragion deh rieda’). By dint of severe struggle he manages to overcome his feelings for her. Before he leaves, he declares that he once saved the King of Scots from danger and was rewarded with the gift of a ring, which he now bestows upon her. He assures her that if ever she, her father or her lover should find themselves under threat, she has only to present the ring to the King to be assured of protection and pardon (‘Nume! se a’ miei sospiri’). The latter part of this colloquy has been observed by a third party: Rodrigo steps forward and challenges Uberto (‘Parla… chi sei?’). The latter proudly declares his allegiance to the King, and taunts Rodrigo by suggesting that he has been deserted by his followers. Rodrigo promptly calls up the clansmen, who emerge in strength from their hiding places in the undergrowth of the wood. Despite Elena’s attempts to keep the peace, Rodrigo and Uberto go off to fight in single combat. A distraught Elena and the clansmen follow.
The interior of the cave.
Malcom, in search of Elena, tells Albina that the expected battle is in heated progress, and that royal forces have broken the ranks of the clansmen (‘Ah si pera’). Serano brings news that Douglas has gone to give himself up to the King, hoping to placate the royal wrath by surrendering himself. Serano further relates that, meeting Elena, he gave her this news, with the result that she too has set off for the court. The misfortunes of the Scots culminate as fleeing clansmen announce the death of Rodrigo, slain in his single combat with Uberto, and the victory of the royal forces in the following battle (‘Douglas! ti salva!)’.
In the King’s palace in Stirling.
Douglas, still in military dress but without sword or helmet, delivers himself up to the King – who is, as we have long realised, none other than Uberto, now recognised as Giacomo V (‘E tanto osasti?’). Douglas has, it transpires, participated in a tournament held to celebrate the royal victory, and has overthrown all the King’s knights. His motive, he claims, was to remind Giacomo of his past deeds of valour. But Giacomo, at least outwardly, remains unimpressed and orders Douglas thrown into prison to await sentence. Douglas is led away. Bertram, Giacomo’s squire, announces that a woman has come bearing the royal ring and craving admission. Realising that it is Elena, Giacomo orders that she be brought in, but insists that she should not be told that he and the man she knows as Uberto are one and the same. He temporarily retires. As Elena enters the palace, she is seized with trembling to find herself in the place where she was born: by now she feels far more at home in her humble dwelling on Loch Katrine (‘Attendi: il Re fra poco’). From off-stage she hears Uberto lamenting his loss of her, and hopes that the fact that he has not forgotten her may prove a happy omen (‘Che sento’). On his appearance she beseeches him to present her to the King so that she may plead for mercy for her father (‘Stelle! sembra egli stesso!’). A great door opens at the back of the stage, revealing the throne room. The lords and ladies of the court acclaim Giacomo (‘Imponga il Re’). Elena, realising that he is the centre of their attentions, at last recognises him as the King (‘Ah! che vedo! qual fasto!’). Douglas is brought in, and Giacomo restores him to all his titles and estates. He pretends, however, to be less generously inclined towards Malcom, whom he also holds in custody. Claiming that he condemns him to a punishment worthy of his errors, he suddenly lays severity aside, raises him up and joins his hand to that of Elena. Elena, overwhelmed by the change in her fortunes – and in the fate of those she loves – brings the opera to a suitable conclusion with expressions of gratitude and joy (‘Tanti affetti in tal momento’).
© Jeremy Commons
English
BIANCA E FALLIERO – SYNOPSIS
ACT ONE
St Mark’s Square, Venice.
The arcades known as the procuratie are crowded. Venetian noblemen and their ladies walk about in the square, rejoicing that a Spanish conspiracy against Venice has been foiled (‘Dalle lagune Adriache’). Contareno and Capellio, two Venetian Senators whose families have for many years been engaged in a dispute over an inheritance, meet and hope for a reconciliation (‘Pace alfin per l’Adria splende’). The wealthy Capellio declares that he loves Contareno’s daughter Bianca, and that he will surrender all claims on the inheritance in question if he is allowed to marry her. Contareno immediately agrees, for he sees this as a way of restoring the former wealth and splendour of his family. The boom of a cannon heralds the arrival of the Doge and his courtiers (‘Esce il Doge’).
The Ducal palace.
The Doge tells Contareno that his opinion has prevailed and that the Senate has passed a law punishing by death anyone found guilty of associating with foreign legations (‘Ministri del Consiglio’). Capellio says that, had he been present at the assembly of the Senate, he would not have voted for so severe a law, since there is no longer any danger from foreign conspiracy. The Doge replies that Venice is not completely safe, for there is still a threat from Spain, and indeed it has been rumoured that the noble Falliero has been killed in battle. An official arrives to inform the Doge that Falliero has, in fact, won the battle and is at that moment landing on the nearby shore (‘Viva Fallier’). Falliero enters with his officers and is greeted joyously by the crowd. He announces that the Spanish army has been defeated (‘Inclito Prence’), and he is praised by the Doge (‘Grata Vinegia’) who invites him to join in a service of thanksgiving in the cathedral.
The forecourt of Contareno’s house.
Bianca and her handmaidens rejoice in the safe return of Falliero, whom Bianca loves (‘Come sereno è il dì’). Her nurse Costanza tells her that Falliero intends to ask for her hand in marriage (‘Costanza? ebben? che rechi?’), but Bianca fears that her father will reject Falliero since he is not wealthy. When Costanza has left, Contareno enters and tells his daughter that he has chosen a wonderful husband for her. She hopes that he is referring to Falliero, and is dismayed to learn that it is Capellio. Contareno warns her that if she ever utters the name of Falliero again, she will forfeit her father’s love and he will ensure that Falliero suffers as well (‘Se l’amor mio ti è caro’). When Contareno also claims that he would die of grief were she to disobey him, Bianca unhappily submits to his will (‘Figlia mia, se forza al core’).
A room in Contareno’s house.
Falliero tells Costanza that he now believes he can visit Bianca openly, would not allow her to disobey her father (‘Dell’onor tuo’). However, when Falliero declares that his life depends on her answer (‘Va’ crudel’), she agrees to flee with him (‘Ch’io t’abbracci’). As they are about to leave, Costanza returns to warn them that Contareno is approaching (‘Fermate! siam perduti’). Falliero’s only way of escape is to climb over the wall into the Spanish Ambassador’s residence. Although he realises that, were he to be discovered there, it would result in his death, he has no option but to climb the wall. Contareno arrives and tells his daughter that the marriage with Capellio will take place that evening in their private chapel, whether she wants it or not. Capellio arrives with his attendants. Contareno assures him that Bianca loves him, but her obvious distress makes Capellio suspicious. Bianca finally speaks out about her father forcing her to this marriage and Capellio decides to leave. Contareno, furious, casts Bianca out despite her throwing herself at his feet (‘Come potesti, indegna’). A loud knocking is heard at the door: Pisani, the Chancellor of the Council of Three, arrives with the news that Falliero has been caught within the Spanish Ambassador’s residence, and is about to be put on trial by the Council of Three. Contareno gleefully anticipates his revenge on Falliero (‘Cadde il fellone…’).
The black-draped meeting-hall of the Council of Three.
Attendants are preparing the table and chairs for the judges in Falliero’s trial. Archers enter and range themselves on either side (‘Ah! qual notte di squallore’). Falliero is brought in under guard. He meditates on his fate and finds comfort in thinking that Bianca is, and has always been, faithful to him (‘Alma, ben mio, sì pura’). He asks the Chancellor Pisani who his judges are to be, and is told they are Loredano, Capellio and Contareno (‘Vieni, signor’). He fears his case is hopeless, but Pisani tells him that, although Contareno may be harsh and inflexible, Capellio is a fair man, and will surely wish to influence Contareno now that he is married to Bianca. On hearing this, Falliero loses all hope (‘Lasso! cessar di vivere). Pisaro is deeply convinced that Falliero is innocent, but fears that no one will defend him, while his position of Chancellor forbids him to speak for Falliero (‘No, non è reo’). When he is brought before his judges, Falliero refuses to defend himself and agrees to sign an admission of his guilt. Before he can do so, an attendant announces that an accomplice of the guilty man craves audience. The judges let him in. Bianca enters, heavily veiled. When asked about her identity, she reveals her name and Contareno attempts to have her removed. Capellio insists that she be heard as she would not have come before the three judges without a serious reason. Bianca explains how Falliero came to be in the Spanish Ambassador’s residence, and Falliero, now assured of Bianca’s love, declares his innocence (‘Cielo, il mio labbro inspira’). Contareno still wishes to find him guilty and signs the death warrant. Loredano also signs, but Capellio pushes the warrant away, exclaiming that Falliero will have to be judged by the Senate (‘Grazie o Cielo!’).
A room in Contareno’s house.
Capellio brings Bianca home. Telling Costanza that he must hasten to the Senate to speak on Falliero’s behalf, he rushes off to do so (‘Innoltra il dì’). Costanza runs to Bianca, who is soon surrounded by her companions and a few servants (‘Vieni, vieni: per te tremante’). Bianca apologises to Costanza for having left home without telling her and explains how she feels anxious about Falliero’s fate (‘Perdona, o mia Costanza’). Costanza urges her to keep faith despite all odds. A voice is heard from outside: it is Falliero, together with Capellio and the Venetian nobles. He has been found innocent by the Senate. Contareno now arrives and tries to make Bianca give up Falliero (‘Teco resto: in te rispetto’). She is about to submit to him as a loving daughter when Capellio and the others point out to him how cruelly he is behaving. Contareno concedes defeat and, to the joy of all present, consents to the marriage of Bianca and Falliero (‘Oh padre!’).
© Charles Osborne
Press Reviews
[…] the Opera Rara mission of restoring underappreciated operatic repertoire to life has succeeded here in spades, with three operas that absolutely deserve a wider circulation. Bel canto enthusiasts who don’t already have these three Opera Rara recordings shouldn’t waver with this marvellous set.
MusicWeb International
An exemplary recording on this specialist label for unusual operatic repertoire (Ermione)
Gramophone
The standoffs between Carmen Giannattasio’s Ermione, Paul Nilon’s Pirro and Patricia Bardon’s Andromaca bristle with theatrical temperament (Ermione)
Sunday Times
Ermione is essential for any connoisseur of bel canto (Ernione)
Opera Magazine
Carmen Giannattasio – a prima donna is born! (La donna del lago)
Financial Times
Benini brings Rossini’s masterful score into sharp relief (La donna del lago)
Opera News
A model of legato singing from the start and blissfully even and precise later on (La donna del lago)
Gramophone
Rossini’s Bianca e Falliero is a vocal showcase of an opera […] awe-inspiring (Bianca e Falliero)
Gramophone
Rossini’s music fully deserves the outstanding quality of performance it gets from orchestra, chorus, singers and conductor on this Opera Rara recording
MusicWeb International
Bel canto enthusiasts owe yet another debt of gratitude to Opera Rara for recording this important work under studio conditions
BBC Music Magazine
Awards & Accolades
- Sunday Times Classical Music Album of the Year 2007 (Bianca e Falliero)
- Gramophone Award Winner 2011 (Ermione)
