Rosario Booklet by bnmbgtrtr52

VIEWS: 135 PAGES: 14

									476 3483

           DE MONTE - CAR LO

           RICHARD MILLS
1   La mia letizia infondere
    from I Lombardi alla prima crociata          2’05
    Music by Giuseppe Verdi 1813-1901.
    Words by Temistocle Solera 1815-1878.

2   Torna a Surriento                            2’46
    Music by Ernesto de Curtis 1875-1937,
    arranged by Peter Hope.
    Words by Giambattista De Curtis 1860-1926.

3   Pecchè?                                      3’07
    Music by Gaetano Errico Pennino 1859-1918,
    arranged by Richard Mills.
    Words by Carlo de Flaviis 1885-?.

4   Granada                                      3’57
    Music and words by Agustín Lara 1897-1970,
    arranged by Albert Guinovart.

5   Se quel guerrier io fossi!...Celeste Aida
    from Aida                                    4’54
    Music by Giuseppe Verdi.
    Words by Antonio Ghislanzoni 1824-1893.

6   Addio, fiorito asil from Madama Butterfly    1’48
    Music by Giacomo Puccini 1858-1924.
    Words by Luigi Illica 1857-1919 and
    Giuseppe Giacosa 1847-1906.

7   Tu, ca nun chiagne!                                 2’42   £   Questa o quella from Rigoletto                        1’56
    Music by Ernesto de Curtis,                                    Music by Giuseppe Verdi.
    arranged by Richard Mills.                                     Words by Francesco Maria Piave 1810-1876.
    Words by Libero Bovio 1883-1942.
                                                               $   Maria Marì                                            2’52
8   Nessun dorma from Turandot                          2’58       Music by Eduardo Di Capua 1865-1917,
    Music by Giacomo Puccini.                                      arranged by Richard Mills.
    Words by Giuseppe Adami 1878-1946 and                          Words by Vincenzo Russo 1876-1904.
    Renato Simoni 1875-1952.
                                                               %   O Holy Night                                          3’52
9   Recitar! mentre preso dal delirio…                             Music by Adolphe Adam 1803-1856.
    Vesti la giubba                                                Original French words by Placide Cappeau 1808-1877.
                                                                   English words by John Sullivan Dwight 1812-1893.
    from Pagliacci                                      3’31
    Music and words by Ruggero Leoncavallo 1857-1919.
                                                               ^   You Are My Heart’s Delight
0   O paese d ’ ’o sole                                 3’00       from The Land of Smiles                               3’11

    Music by Vincenzo d’Annibale 1894-1950,                        Music by Franz Lehár 1870-1948.
    arranged by Richard Mills.                                     Original German words by Ludwig Herz er 1872-1939
    Words by Libero Bovio.                                         and Fritz Löhner 1883-1942.
                                                                   English words by Harry Graham 1874-1936.
!   Core ’ngrato                                        4’40
    Music by Salvatore Cardillo 1874-1947,
                                                                                    ROSARIO LA SPINA tenor
    arranged by Richard Mills.
                                                                            Orchestre Philharmonique de Monte-Carlo
    Words by Riccardo Cordiferro 1875-1940.
                                                                                       (Lisa Kerob leader)
                                                                                   RICHARD MILLS conductor
@   Ah sì, ben mio from Il trovatore                    2’69
    Music by Giuseppe Verdi.
    Words by Leone Emanuele Bardare 1820-1874
    and Salvatore Cammarano 1801-1852.

                                 4                                                              5
                                              The General Mana ger, Rudolf Bing, who ruled the Metropolitan
                                              Opera in New York from 1950 to 1972, made the following
                                              surprising statement:

                                              The reason tenors demand so much money is because the
                                              timbre of their voice is a sexual stimulant.

                                              While this remains a statement to be pro ved conclusively,
                                              it is not an unfair claim that the tenor v oice, particularly in
                                              romantic opera, has the capacity to excite and thrill audiences
                                              more than any other vocal type. The brilliance and sheer power
                                              of the tone as a tenor ascends to the higher notes may indeed
                                              increase his wage-earning capacity and the great tenor s of the
                                              Italian and German schools earned vast amounts of money at
                                              the peak of their career s.

                                              For rising star Rosario La Spina, however, the career shift from
               This is the land of sun,       bricklayer to opera singer was not a matter of money: ‘Once
            this is the land of the sea,      the music grabs you, it doesn ’t let you go. It w as always
                                              smouldering inside me, even though I didn ’t realise it.’ In fact,
    this is the land where all words,         his new vocation demanded an abrupt straitening of

               whether sweet or bitter,       circumstances, waving farewell to his weekly pay pac ket and
                                              embracing the poverty of student li ving. The gamble paid off,
                     are words of love!       and Rosario is now in demand at opera houses around the
                    from O paese d’ ’o sole   world, from La Scala in Milan to the S ydney Opera Hous e.

6                                                                               7
Tenor voices may be divided into the f ollowing          There are of course great singers of man y            volume. The result was a decline in the use of              servant, the jester Rigoletto, he unleashes a
categories:                                              nationalities, but it is the tenors of the It alian   coloratura – fast, brilliantly agile singing – in all       train of vengeance, love and loyalty that will end
                                                         school who have become firm favourites in the         vocal types except the highest and brightest                in Gilda’s death and Rigoletto’s despair. The
Leggero: A light voice specialising in roles with        minds and hearts of the public: whether born in                                                                   Duke, however, escapes scot-free, still revelling
                                                                                                               sopranos. A glorious top C in chest voice
coloratura and music with a high tessit ura; roles       Italy, like Enrico Caruso, Beniamino Gigli and                                                                    in the condescending attitude to women
                                                                                                               consequently became (and still remains) one of
include Almaviva in The Barber of Seville, Elvino        Luciano Pavarotti, or trained in the It alian                                                                     displayed at the beginning of the opera in the
                                                                                                               the important goals for the tenor in romantic
in La sonnambula, Fenton in Falstaff                     traditions, like Jussi Björling and Plácido                                                                       charming, elegant music of Questa o quella.
                                                                                                               opera and certainly an important element in the
Lyric: Slightly heavier in quality than a leggero        Domingo. The great school of Italian tenors           audience’s appraisal of a tenor ’s performance.
                                                         actually started with a Frenchman, Gilbert Louis                                                                  Verdi’s Il trovatore (1853) is an opera that gives
tenor; musically less extensive in range                                                                                                                                   the old closed forms of bel canto one final
                                                         Duprez, who was officially the first tenor to         Perhaps the greatest composer of Italian opera
(The Duke in Rigoletto, Alfredo in La T  raviata )                                                                                                                         dazzling workout. It had been traditional to
                                                         execute a top C in chest voice; this he introduced    was Giuseppe Verdi. The tenor voice by this time
Spinto: A voice with the brightness and range of         into a performance of Rossini’s William T in  ell     had become associated with romantic                         provide major characters with at least one f ormal
a lyric tenor but with greater v ocal weight and a       Arnold’s cabaletta ‘Amis, secondez la vengeance’.     characters, and even in his early operas, churned           aria that consisted of a slo w, lyrical cavatina
darker timbre (Oronte in I Lombardi, Manrico in                                                                out to keep up with public demand, Verdi gave               followed by a fast concluding movement known
                                                         This top C created a sensation with the public,       the tenor an import ant part to play. Many of               as a cabaletta. The aria Ah sì, ben mio is a
Il trovatore, Radamès in Aïda, Pinkerton in
                                                         who marvelled at the clarion-like quality, while      these works have only fairly recently returned to           beautiful example of a cavatina in triple time,
Madama Butterfly, Canio in Pagliacci )
                                                         the composer complained that such a sound had         the regular repertory, but selected items have              with a cantilena that allows the tenor to exhibit
Dramatic: A very powerful ringing sound with a           not been his intention and lik ened it to the noise   never disappeared from the concert repertoire of            his lyrical powers with cadences that are
range generally not as extensive as the lighter          of a capon getting its throat cut! The original       the operatic tenor. Amongst these is the aria La            reminiscent of the elegance of Mozart. Manrico,
types. This is nowadays a very rare vocal type.          creator of the role of Arnold, Adolphe Nourrit,       mia letizia infondere, from Verdi’s fourth opera,           the troubadour of the opera’s title, is in love with
(Calaf in Turandot, Otello)                              who like other tenors had always taken the high       I Lombardi alla prima crociat a (1843). It is sung          Leonora – the two are about to be mar ried as
                                                         notes as a mix of head and c hest tones, was in       by the young Oronte, son of the Saracen r uler of
It is not uncommon for a tenor to st art life as a                                                                                                                         Manrico sings this tender, passionate declaration
                                                         despair seeing the public’s enthusiasm for the        Antioch, who has fallen in love with the Christian
lyric and gradually progress into spinto and e ven                                                                                                                         of his feelings – but she has been claimed b y the
                                                         new technique. Resolving to discover this new         prisoner Giselda.
dramatic repertoire as his voice becomes darker                                                                                                                            Count di Luna. The hatred between the two men
                                                         technique of producing high notes, he embark ed
and heavier. That was Caruso’s experience, and it                                                              In Rigoletto (1851), the tenor is no longer the             is fuelled by more than lovers’ rivalry: Manrico is
                                                         on a series of lessons with Doniz etti in Italy
is certainly the case with Rosario La Spina: while                                                             typical good guy leading man of romantic opera.             the son of Azucena, the gypsy woman who killed
                                                         which proved so disastrous that he committed
not abandoning the spinto and lyric roles in                                                                   The opera is based on a pla y by Victor Hugo, Le            the Count’s infant brother in revenge for the
                                                         suicide in 1839.
which he gained his earliest successes, he is                                                                  roi s’amuse, and the character of the Duke of               killing of her mother – or so it is belie ved.
gradually turning towards the coveted dramatic           With the development of the 19th-century              Mantua was based on the historical figure of the            Leonora ultimately takes her own life rather than
roles of the It alian repertory. This album              orchestra with its bigger numbers and                 French king, Francis I. The Duke is rich, powerful,         submit to the Count; he in his jealous rage has
showcases not only the qualit y of his voice, but        consequent capacity to produce more colourful         charming and utterly unscrupulous when it                   Manrico executed, and Azucena reveals in
also the breadth of his career to date, from The         (and louder) effects, the need arose for voices to    comes to indulging his interest in w omen; when             triumph that Manrico was in fact the Count’s
Duke in Rigoletto to Calaf in Turandot.                  compete, armed with greater brightness and            he sets his sights on Gilda, the daughter of his            missing brother: her mother is a venged at last.

                                                     8                                                                                                                 9
By the time of the composition of Aïda (1871),              Leoncavallo claimed that his opera Pagliacci (1892)    left incomplete at the time of the composer’s               conceived with the singer ’s voice in mind and
Verdi had shaken off the formal restraints of the           was based on a real-life incident where an actor       death in 1924, premiered in 1926 as completed               collectively designated by the composer as
bel canto operatic forms and no longer required a           had stabbed his wife in a jealous rage: a case tried   by Franco Alfano) has survived its use as a                 ‘Tauber-Lieder’. In their day, these operettas
fast movement to follow a slow aria. The aria               by the composer’s magistrate father. The aria          theme song for soccer World Cup Finals and                  were performed throughout Europe in every
Celeste Aida occurs at the beginning of the                 Vesti la giubba allows the performer to show the       talent show contestants. However, the aria’s                conceivable language and were much admired
opera, where it is sung by Radamès, the Egyptian            range of the new verismo vocal techniques to           popularity due to its exposure in mass media                by no less a person than Giacomo P uccini. The
commander who harbours a secret passion for                 convey the clown Canio’s despair upon finding that     events has increased the public’s enthusiasm for            Land of Smiles (1929) – in the original German,
the ‘heavenly Aida’, an Ethiopian princess who              his wife Nedda is unfaithful to him.                   the opera itself, which is now included amongst             Das Land des Lächelns – is the t ale of a love
has been taken prisoner by the Egyptians and is                                                                    the dozen most performed operas in the cur rent             which does not sur vive the strains of trying to
                                                            The role of Lieutenant Pinkerton in Madama
now a slave. She is also in love with him, but the                                                                 repertory – a ranking that w ould have been                 straddle two cultures. Prince Sou-Chong has
                                                            Butterfly (1904) was originally conceived by
two will be united only in death, when Radamès                                                                     considered unthinkable only 50 years ago. The               fallen in love with an Austrian countess and
                                                            Puccini for the talents of the dramatic tenor
is buried alive for helping the Ethiopians, and Aida                                                               story is set in imperial China: the princess,               brought her back to live with him in China; she,
                                                            Giovanni Zenatello, whose extensive voice
sneaks into his tomb to die in his arms. The opera                                                                 Turandot, is a dazzling beaut y with a heart of ice,        though deeply in love with him, is accustomed
                                                            allowed the composer to unleash a large
was written to mark the opening of the Khedivial                                                                   who requires of her many suitors that they                  to the freedoms of life in the West and finds
                                                            romantic-sized orchestra freely. As is well
Opera House in Cairo. Verdi was not able to                                                                        answer three riddles before she will consent to             Chinese society intolerable. Eventually she
                                                            known, the premiere of the opera at the Teatro
attend, but he made it clear that he was not                                                                       marry them; if they answer incorrectly, they are            returns to her homeland, leaving Sou-Chong
                                                            alla Scala in Milan was an outstanding debacle;
happy that the event was to be open only to                                                                        beheaded. Calaf is the first to ha ve passed                alone to conceal his sor row beneath a smile, as
                                                            the aria Addio fiorito asil was added to the last
officials, and closed to the general public. The                                                                   Turandot’s grisly test, and she is incandescent             custom requires. The operetta is a reworking of
                                                            act of a revised version that launched the opera
public performances in Milan which he                                                                              with rage at the prospect of having to marry                an earlier, less successful piece entitled Der
                                                            to worldwide fame a few months later. It is sung
supervised the following year were, as far as               by Pinkerton near the end of the opera: he has         him, but Calaf offers her a way out: until now, he          gelbe Jacke (The Y  ellow Jacket) and the song
Verdi was concerned, the opera’s true premiere.             returned to Japan after three years to discover        has kept his identity secret, but if the princess           Dein ist mein ganzes Herz, a highlight of the
                                                            that the marriage which he had dismissed as an         can discover his name before morning, he will               new version, was originally based on a small
By the end of the 19th century, Italian opera
                                                            amusing exotic episode was, in the eyes of his         submit to the executioner’s axe. Turandot orders            piece of incidental music from the earlier piece.
turned towards subjects that were more realistic
                                                            young Japanese wife, a life-long commitment,           her subjects to work through the night to tr y to           It became one of Tauber’s signature tunes and in
in manner and occasionally even contemporary
                                                            heart and soul. She has been w aiting for him          find the answer, on pain of death; Calaf,                   performance he would give multiple encores in
in setting. To match subjects that were more
                                                            patiently and faithfully; he has brought with him      however, is confident that when the morning                 various European languages. It is perf ormed
passionate in nature than earlier operas, a
                                                            his new, American, ‘real’ wife. Pinkerton, at last     comes, he will be victorious ( Nessun dorma –               here in English as You Are My Heart’s Delight.
different vocal approach was required from the
                                                            realising that he has been pla ying with               ‘None shall sleep’).
singers that frequently demanded a more                                                                                                                                        The genre of It alian popular song has much to
                                                            Butterfly’s life rather than his own fantasies, is
passionate delivery which even extended to                                                                         The great 20th-century operetta composer Franz              thank for the mediums of recording and radio in
                                                            overwhelmed by guilt and self-loathing .
spoken, shouted or sobbed effects – devices                                                                        Lehár considered his leading man, the tenor                 ensuring its fame worldwide. Less subtle than
that never would have been dreamed of in a                  As a testament to its greatness and durabilit y,       Richard Tauber, to be an indispensible ingredient           the arie antiche of the 17th and 18th centuries,
bel canto opera.                                            the aria Nessun dorma from Turandot (an opera          in the success of his latest piece. Solos w ere             certainly less sophisticated than the art song of

                                                       10                                                                                                                 11
other European nations, It alian song has become          order to survive. Even though he witnessed the          Oronte:
almost exclusively associated with the tenor              worldwide popularity of his music during his        1 La mia letizia infondere                 I wish I could pour m y joy
voice and is now an indispensable part of e very          lifetime, he died in 1920 in extreme poverty.           Vorrei nel suo bel core;               into her lovely heart;
operatic tenor’s repertoire as an uninhibited             Other composers such as Gaetano Pennino                 Vorrei destar coi palpiti              I wish that the throbbing
demonstration of a singer ’s vocal powers.                (Pecchè?) and Vincenzo d’Annibale (O paese d’           Del mio beato amore                    of my blissful love could awaken
                                                          ’o sole), who wrote almost exclusively in the           Tante armonie nell’etere,              as many harmonies in the heavens
Towards the end of the 19th century, Italian              field of popular song , were cannier financially        Quanti pianeti egli ha;                as there are planets;
music publishing houses profited from the                 and made significant fortunes from their                Ir seco al cielo ed ergermi            ah, to go with her to hea ven and ascend
popularity of Neapolitan song. With mass                  compositions.                                           Dove mortal non va!                    where mortals may not go!
emigration of Italians seeking their fortunes in
other parts of the globe trying to establish a            Although he never set foot in the cit y, Mexican
                                                                                                                  Torna a Surriento
better future for their families, Italian songs           composer Augustin Lara scored a worldwide hit
                                                                                                              2 Vide ’o mare quant’è bello,              Look at the sea, how beautiful it is,
provided an indispensable link to the old w orld –        with Granada. While he went on to write many
                                                                                                                  Spira tantu sentimento,                stirring so many feelings,
a popularity that was boosted with the                    songs that became popular and film scores, this
                                                                                                                  Comme tu a chi tiene mente,            just as you do to the man who thinks of y ou
development of the gramophone.                            song extolling the beauty of the Spanish city and
                                                                                                                  Ca scetato ’o faie sunnà.              making him dream even when he is awake!
                                                          its surroundings has attracted singers from
Amongst the many composers who wrote in the
                                                          varying vocal disciplines including Frankie Laine       Guarda, gua’, chistu ciardino;         Look at these gardens,
genre, special mention must be made of
                                                          and Frank Sinatra.                                      Siente, sie’ sti sciure arance:        smell the orange blossoms,
Ernesto de Curtis whose songs such as Torna a
                                                                                                                  Nu profumo accussi fino                a fragrance so fine
Surriento (1902) and Tu ca nun chiagne! (1915)            Adolphe Adam’s Cantique de Nöel remains the
                                                                                                                  Dinto ‘o core se ne va…                it goes straight to the heart.
rank amongst the most beloved by singers and              most popular of the composer ’s non-theatrical
audiences. Many singers recorded versions of              compositions. Composed in 1847 and better               E tu dice: ‘I’ parto, addio!’          And you say: ‘I am leaving, farewell!’
these songs, none more not able than Enrico               known in English as O Holy Night, it holds the          T’alluntane da stu core…               You would go far from my heart,
Caruso who was the dedicatee of Salvatore                 distinction of being the first piece of music           Da sta terra de l’ammore…              from this land of love…
Cardillo’s Core ’ngrato and who made the first            known to have been broadcast on radio, on 24            Tiene ’o core ’e nun t urnà?           If you have a heart, how can you not return?
discs of many Neapolitan songs which were                 December 1906 in a version played on the violin.        Ma nun me lassà,                       But don’t leave me,
sold worldwide.
                                                                                          Andrew Greene           Nun darme stu turmiento!               don’t torment me so!
Copyright was a significant issue for many of the                                                                 Torna a Surriento,                     Come back to Sorrento,
composers writing these songs. Eduardo di                                                                         Famme campà!                           and let me live!
Capua, for example, lived a hand-to-mouth
existence despite turning out some of the most
popular pieces of the genre including O sole mio
and Maria Marì, for which he sold the rights in

                                                     12                                                                                             13
    Pecchè?                                                                                                En coplas preciosas,                              in precious couplets
3 Canta ll’auciello dint’ ’a casa antica                A bird is singing in the old house                 No tengo otra cosa que darte                      I have nothing to give you
    Addó’ primma cantave pure tu...                     where once you used to sing…                       Que un ramo de rosas,                             except a bouquet of roses,
    E sento pure ’a voce ’e n’ata amica                 and I hear the voice of another love               De rosas de suave fragancia                       delicately perfumed roses
    Ca mme cunziglia ’e nun te penzá cc hiù!...         advising me not to think of y ou any more.         Que le dieran marco a la Virgen morena.           worthy to adorn the brown-skinned Virgin.
                                                                                                           Granada, tu tierra esta llena                     Granada, your soil is full
    Carmè’..                                            Carmè…
                                                                                                           De lindas mujeres, de sangre y de sol.            of lovely women, blood and sun.
    Si aggio lassato a mamma mia pe ’ te,               Since I left my mother for you,
    Si t’hê pigliato ’a primma giuventù...              you took away the prime of my youth…
    Pecché, nun tuorne a me!?                           why won’t you come back to me?                     Radamès:
                                                                                                       5 Se quel guerrier io fossi!                          If only I were that warrior!
    Mme pare ca è cagnata ’sta fenesta                  It seems to me that this windo w has changed       Se il mio sogno si a vverasse!                    If only my dream might come true!
    ’A dó’ vuttaste ’o primmo sciore a me.              since you stood there and threw the first          Un esercito di prodi da me guidato                An army of brave men with me at their head,
                                                           flower to me.                                   E la vittoria e il plauso di Menfi t utta!        and victory, and the acclaim of all Memphis!
    E n’ata rosa, ’a dint’a n’ata testa,                And another rose, in another head,                 E a te, mia dolce Aïda,                           And to return to you, my sweet Aida,
    Mo mme cunziglia ’e nun penzá cc hiù a te...        is telling me not to think of y ou any more.       Tornar di lauri cinto                             crowned with laurel,
                                                                                                           Dirti: per te ho pugnato,                         and to say to you: for you have I fought,
    Granada                                                                                                Per te ho vinto!                                  for you have I conquered!
4 Granada, tierra soñada por mi,                        Granada, land of my dreams,
                                                                                                           Celeste Aïda, forma divina,                       Heavenly Aida, divine form,
    Mi cantar se vuelve gitano                          my song turns gypsy
                                                                                                           Mistico serto di luce e fior,                     mystical garland of light and flo wers,
    Cuando es para ti.                                  when I sing it to y ou.
                                                                                                           Del mio pensiero tu sei regina,                   you are the queen of m y thoughts,
    Mi cantar, hecho de fantasia;                       My song, woven of fantasy
                                                                                                           Tu di mia vit a sei lo splendor.                  the splendour of my life.
    Mi cantar, flor de melancolia,                      my song, a flower of melancholy
                                                                                                           Il tuo bel cielo vorrei ridarti,                  I would like to return your beautiful sky to you,
    Que yo te vengo a dar.                              that I have come to offer you.
                                                                                                           Le dolci brezze del patrio suol                   the sweet breezes of your homeland,
    Granada, tierra ensangrentada                       Granada, land drenched in blood
                                                                                                           Un regal serto sul crin posarti,                  to place a royal garland on your brow,
    En tardes de toros,                                 from afternoons of bullfighting,
                                                                                                           Ergerti un trono vicino al sol!                   and raise up a throne f or you, beside the sun.
    Mujer que conserva el embrujo                       a woman who keeps the spell
    De los ojos moros.                                  of Moorish eyes.
    De sueno, rebelde, git ana                          Land of dreams, a rebel, a gypsy
    Cubierta de flores,                                 covered with flowers,
    Y beso tu boca de grana,                            and I kiss your scarlet mouth,
    Jugosa manzana                                      a juicy apple
    Que me habla de amores.                             that speaks to me of lo ve.
    Granada, manola, cantada                            Granada, sung

                                                   14                                                                                                   15
    Pinkerton:                                                                                                Quando la luce splenderà!                          when the glory of morning dawns!
6 Addio, fiorito asil di letizia e d’amor!              Farewell, flower-filled refuge of joy and love!       Ed il mio bacio scioglierà                         And my kiss shall break
    Sempre il mite tuo sembiante                        To see your little face will always                   Il silenzio che ti fa mia!                         the silence which makes you mine.
    Con strazio atroce vedrò.                           pierce me with cruel torment.                         Dilegua, o notte! Tramontate, stelle!              Depart, O night! Set, you stars!
    Addio, fiorito asil,                                Farewell, flower-filled refuge,                       All’alba vincerò! Vincerò! Vincerò!                At dawn I shall win! I shall win! I shall win!
    non reggo al tuo squallor.                          I cannot bear your misery.
    Fuggo, fuggo, ah, son vil!                          I must flee, ah, I am vile!                           Canio:
                                                                                                          9 Recitar!... mentre preso dal delirio!                Perform! When you’re so delirious
  Tu, ca nun chiagne!                                                                                         Non so piu quel che dico e quel che faccio!        you don’t know what you’re saying or doing!
7 Comm’è bella ’a munt agna stanotte...                 How lovely the mountain is tonight…                   Eppur...e d’uopo...sforzati!                       And yet… You have to… Force yourself!
  Bella accussí, nun ll’aggio vist a maje!              I’ve never seen it so beautiful!                      Bah, sei tu forse un uom?                          Bah, do you think yourself a man?
  N’ánema pare, rassignata e stanca,                    It’s like a tired, resigned soul                      Tu sei Pagliaccio!                                 You’re Pagliaccio the clown!
  Sott’ ’a cuperta ’e chesta luna janca...              under the cover of this white moon…
                                                                                                              Vesti la giubba e la f accia infarina.             Put on the costume and powder your face.
    Tu ca nun chiagne e chiágnere mme faje,             You who do not weep, you who make me weep,            La gente paga e rider vuole qua.                   The people pay, and they want to laugh.
    Tu, stanotte, addó’ staje?                          where are you tonight?                                E se Arlecchin t’invola Colombina,                 And if Harlequin should steal y our Columbine,
    Voglio a te!                                        I want to be with you!                                Ridi, Pagliaccio... e ognun applaudira!            laugh, Pagliaccio… and everyone will applaud!
    Chist’uocchie te vonno, n’ata vota, vedé!           These eyes want to see you again!                     Tramuta in lazzi lo spasmo ed il pianto;           Turn the stabs of pain and the tears into jokes;
                                                                                                              In una smorfia il singhiozzo e’l dolor...          the sobs and the sorrow into a funny face…
    Comm’è calma ’a munt agna stanotte...               How calm the mount ain is tonight…
                                                                                                              Ridi, Pagliaccio, sul tuo amore infranto!          Laugh, Pagliaccio, over your broken love!
    Cchiù calma ’e mo, nun ll’aggio vist a maje!        I’ve never seen it calm like this before!
                                                                                                              Ridi del duol che t’avvelena il cor!               Laugh from the suffering that poisons your heart!
    E tutto dorme, tutto dorme o more,                  And everything is asleep, asleep or dead,
    E i’ sulo veglio, pecché veglia Ammore...           and only I am awake, because Love keeps vigil…
                                                                                                              O paese d’ ’o sole
                                                                                                          0 Ogge stó’ tanto allero                               Today I’m so happy
                                                                                                              Ca, quase quase, mme mettesse a chiagnere          that I almost feel like crying
8 Nessun dorma! Nessun dorma!                           None shall sleep! None shall sleep!
                                                                                                              Pe’ ’sta felicitá...                               for happiness…
  Tu pure, o Principessa,                               Ah, Princess, you too
                                                                                                              Ma è overo o nun è overo                           But is it true, can it be true
  Nella tua fredda stanza                               in your cold room
                                                                                                              Ca só’ turnato a Napule?                           that I have come back to Naples?
  Guardi le stelle che tremano                          are watching the stars tremble
                                                                                                              Ma è overo ca stó’ ccá?                            Is it true that I am here?
  D’amore e di speranza!                                with love and hope!
                                                                                                              ’O treno steva ancora ’int’ ’a st azione           The train was still in the st ation
  Ma il mio mistero è chiuso in me,                     But I hold my secret hidden within,
                                                                                                              Quanno aggio ’ntiso ’e primme manduline...         when I first heard the mandolins…
  Il nome mio nessun saprà.                             no-one shall know my name!
  No, no, sulla tua bocca lo dirò,                      No, no, I will speak it on y our lips

                                                   16                                                                                                       17
    Chist’è ’o paese d’ ’o sole,                       This is the land of sun,                          Manrico:
    Chist’è ’o paese d’ ’o mare,                       this is the land of the sea,                  @ Ah sì, ben mio; coll’essere                  Ah yes, my love: when I am your consort
    Chist’è ’o paese addó’ tutt’ ’e pparole,           this is the land where all w ords,                Io tuo, tu mia consorte,                   and you are mine,
    Só’ doce o só’ amare,                              whether sweet or bitter,                          Avrò più l’alma intrepida,                 my soul will be braver,
    Só’ sempe parole d’ammore!                         are words of love!                                Il braccio avrò più forte.                 my arm stronger.
                                                                                                         Ma pur, se nella pagina                    And yet, if it is written
    ’Sta casa piccerella,                              This little house,
                                                                                                         De’ miei destini è scritto                 in the pages of my destiny
    ’Sta casarella mia ’ncoppo Pusilleco,              my little house far about Posilipo,
                                                                                                         Ch’io resti fra le vittime,                that I am to remain among the victims,
    Luntano, chi t’ ’a dá?...                          who gave it to you?
                                                                                                         Dal ferro ostil trafitto,                  pierced by an enemy sword,
    ’Sta casa puverella,                               This simple little house,
    Tutt’addurosa ’anèpeta,                            perfumed with mint –                              Fra quegli estremi aneliti                 in those final moments
    Se putarría pittá:                                 lovely enough to paint,                           A te il pensier verrà,                     my thoughts will fly to y ou,
    A ccá nu ciardeniello sempe ’nfiore                with its little garden always in flower           E solo in ciel precederti                  and death, to me, will be nothing more
    E de rimpetto ’o mare, sulo ’o mare!               overlooking the sea, nothing but the sea!         La morte a me par rà!                      than reaching heaven before you!

    Core ’ngrato                                                                                         The Duke:
! Core, core ’ngrato,                                  Ungrateful heart,                             £ Questa o quella per me pari sono             This woman, that woman – to me they’re
    T’aie pigliato ’a vit a mia,                       you stole my life away;                                                                         just like
    Tutt’è passato e nun’nce pienze cchiù!             now that it’s over, you don’t give me             A quant’altre d’intorno mi vedo,           so many others I see all around me.
                                                         another thought!                                Del mio core l’impero non cedo             I won’t surrender my heart
    Catarì, Catarì,                                    Catarì, Catarì,                                   Meglio ad una che ad altre belt a.         to one beauty over any other.
    Pecchè me dici sti parole amare;                   why do you speak such bitter words to me?         La costoro avvenenza è qual dono           Their charm is a gift
    Pecchè me parle                                    why does my heart torment me                      Di che il fato ne infiora la vit a;        from fate, to make their lives more pleasant;
    E ’o core me turmiente, Catarì?                    when you speak to me, Cat arì?                    S’oggi questa mi torna gradit a,           if today it’s this one who appeals to me,
    Nun te scurdà ca t’aggio date ’o core,             Don’t forget that I gave my heart to you,         Forse un’altra doman lo sarà.              maybe it will be a different one tomorrow.
    Catarì, nun te scurdà!                             Catarì, don’t forget!
                                                                                                         La costanza, tiranna del core,             Constancy is the heart’s tyrant;
    Catarì, Catarì, che vene a dicere stu parlà        Catarì, Catarì, why do you say these things
                                                                                                         Detestiamo, qual morbo crudele,            I hate it like a cruel disease.
    Ca me dà spaseme?                                  that cause me such agony?
                                                                                                         Sol chi vuole si serbi fedele;             Let those who want, keep themselves faithful;
    Tu nun’nce pienze a stu dulore mio,                You never think about my suffering,
                                                                                                         Non v’ha amor se non v’è libertà.          there’s no love without freedom.
    Tu nun’nce pienze, tu nun te ne cure.              you never think about it, you don’t care.
                                                                                                         De’ i mariti il geloso furore,             I laugh at the jealous rages of husbands
    Core, core ’ngrato,                                Ungrateful heart,
                                                                                                         Degli amanti le smanie derido,             and the woes of lovers;
    T’aie pigliato ’a vit a mia,                       you stole my life away;
                                                                                                         Anco d’Argo i cent’occhi disfido           I’ll defy even Argus with his hundred eyes
    Tutt’è passato e nun’nce pienze cchiù!             now that it’s over, you don’t give me
                                                                                                         Se mi punge una qualche beltà.             if a beautiful girl t akes my fancy.
                                                         another thought!

                                                  18                                                                                           19
    Maria Marì                                                                                                 O night divine! O night when Christ w as born.
$ Arápete fenesta!                                        Open the window!
                                                                                                               Truly he taught us to love one another;
    Famme affacciá a Maria,                               Let me see Maria face to face –
                                                                                                               His law is love and his gospel is peace.
    Ca stóngo ’mmiez’â via...                             here I am, st anding in the middle of the road
                                                                                                               Chains shall he break, for the slave is our brother,
    Speruto da vedé...                                    desperate to see her…
                                                                                                               And in his name all oppression shall cease.
    Nun trovo n’ora ’e pace:                              I can’t get an hour ’s peace:
                                                                                                               Sweet hymns of joy in grateful chorus raise we,
    ’A notte ’a faccio juorno,                            night and day are the same to me,
                                                                                                               Let all within us praise his holy name.                as Radamès
    Sempe pe’ stá ccá attuorno,                           always waiting here,
                                                                                                               Fall on your knees! O hear the angel v oices!          in Aida
    Speranno ‘e ce parlá!                                 hoping to speak to her!
                                                                                                               O night divine! O night when Christ w as born.         (Seattle Opera)
    Ah Maria, Marì,                                       Oh, Maria, Maria,
    Quanta suonno ca perdo pe’ te!                        how much sleep I’ve lost over you!                   Prince Sou-Chong:
    Famme addurmí,                                        Let me fall asleep,                              ^ You are my heart’s delight,
    Abbracciato nu poco cu te!                            holding you in my arms for a little!                 And where you are, I long to be!
    Oje Marì, oje Marì!                                   Oh Maria, Maria!                                     You make my darkness bright,
                                                                                                               When like a star you shine on me.
    Pare che giá s’arape                                  It looks like one of the shutters
                                                                                                               Shine, then, my whole life through:
    Na sénga ’e fenestella...                             is opening…
                                                                                                               Your life divine bids me hope ane w
    Maria cu ’a manella,                                  Maria is waving her hand
                                                                                                               That dreams of mine may at last come true
    Nu segno a me mme f a!                                at me!
                                                                                                               And I shall hear you whisper, ‘I love you.’
    Sòna chitarra mia!                                    Come, my guitar: play out!
    Maria s’è scetata!...                                 Maria is awake!                                      In dreams when night is f alling                       as Duke of Mantua
    Na scicca serenata,                                   I’ll get her listening                               I seem to hear you calling                             in Rigoletto
    Facímmole sentí.                                      with a lively serenade.                              For you have cast a net around me                      (Opera Australia)
                                                                                                               And ’neath a magic spell hath bound me,
    O Holy Night                                                                                               Yours, yours alone.
% O holy night, the st ars are brightly shining .                                                              A wondrous air is your beautiful hair;
    It is the night of our dear Saviour’s birth;                                                               Bright as a summer sk y is the light in y our eyes;
    Long lay the world in sin and er ror pining,                                                               Soft as a turtle dove is the voice of my love.
    Till he appeared and the soul f elt its worth.
    A thrill of hope the w eary world rejoices,
    For yonder breaks a new and glorious morn.
    Fall on your knees! O hear the angel v oices!                                                                                                                     as Pinkerton
                                                                                                                                                                      in Madama Butterfly
                                                                                                                                                                      (Opera Australia)
                                                     20                                                                                                          21
                                                             for New Zealand Opera, Cavaradossi ( Tosca)
     Rosario La Spina                                        under Richard Hickox at the St Endellion
     Rosario La Spina trained at the Queensland              Festival, and Canio ( Pagliacci) with the Taipei
     Conservatorium of Music, continuing his                 Symphony Orchestra, as well as touring
     studies at the Royal Northern College of                Spain in concert with the Parma Ensemble.
     Music in Manchester under the tutelage of               He made his Opera Australia debut in 20 05 as
     Joseph Ward OBE. During this period, he                 Cavaradossi and has subsequently appeared
                                                             as The Prince (The Love for Three Oranges),
     made guest appearances as Arturo in Lucia di
                                                             Alfredo, Pinkerton (Madama Butterfly), The
     Lammermoor at the Stadttheater Bern in
                                                             Prince (Rusalka), Calaf ( Turandot), Rodolfo
     Switzerland, and as a soloist in opera g alas
                                                             (La bohème) and in the title role of The T  ales
     with the Ulster Orchestra in Belfast and the
                                                             of Hoffmann. Other operatic engagements
     Cairo Symphony Orchestra in Egypt.
                                                             have included Alfredo and Pinkerton for West
     Having gained first prize in the tenor                  Australian Opera and, in 20 07, his American
     competition held at the La S cala Academy in            debut as Rodolfo for Seattle Opera.
     2000, Rosario La Spina embarked on the
                                                             Rosario La Spina has also been a regular
     Academy’s two-year Young Singers’ Course,               guest soloist with Australia’s leading
     where he studied with Luciana S erra and Leyla          symphony orchestras. In 2009, he performed
     Gencer. This culminated in his La S cala debut          the tenor solos in Verdi’s Requiem with The
     as The Messenger in Samson and Delilah ,                Queensland Orchestra under Johannes
     where he appeared with Placido Domingo and              Fritzsch, and with the Adelaide Symphony
     Olga Borodina. In 20 02, Rosario La Spina won           Orchestra under Arvo Volmer. Recent and
     first prize in the Mario Del Monaco                     forthcoming appearances include Pinkerton
     International Opera Competition and made his            and Don José (Carmen) in Sydney and
     principal role debut at La S cala as Riccardo in        Melbourne, Radamès (Aida) in Toronto, Seattle,
     Verdi’s Oberto, reprising the role in Genoa.            Sydney, Melbourne and Adelaide, and
                                                             Hoffmann in Sydney, Melbourne and Adelaide.
     The following year saw his debut at the Verdi
     Festival in Parma’s Teatro Regio as Arvino              Recent recordings include Puccini Romance
     (I Lombardi) – he also covered the role of              (with soprano Antoinette Halloran and The
     Manrico (Il trovatore) for Welsh National               Queensland Orchestra) and the DVD release
     Opera and appeared as Alfredo (La traviata)             Classical Spectacular (with baritone José
     in Modena and Luigi ( Il tabarro) in Osaka. In          Carbó and the Melbourne Symphony
     2004, he sang The Duke (Rigoletto)                      Orchestra), both on the ABC Classics label.

22                                                      23
                                                         Philharmonique’ in 1980, has played a major role    Japan. The Orchestra Philharmonique de Monte-              The Orchestre Philharmonique de Monte-Carlo
Orchestre Philharmonique                                 in support of contemporar y operatic,               Carlo has recorded for Deutsche Grammophon,                benefits from the support of EFG Bank, the
de Monte-Carlo                                           choreographic and symphonic composition.            Decca, EMI Classics and Phillips, all receiv ed            Société des Bains de Mer and the Association
                                                         La Damnation de Faust (Berlioz), L’Enfant et les    favourably by the international press, and in              of Friends of the Orchestra.
Founded in 1856, the Orchestra Philharmonique            Sortilèges (Ravel) and Pénélope (Fauré) were        many cases earning prestigious prizes.
de Monte-Carlo has enjoyed wide international            created in Monaco.
recognition and the honour of w orking with                                                                  In December of 20 03, under the direction of               Richard Mills
many of the world’s finest conductors: Sabata,           In the year 2000, Marek Janowski’s nomination       Marek Janowski and together with the Berlin
                                                         to the position of Artistic Director brought an     Radio Symphony Orchestra plus the Berlin and               Richard Mills is one of Australia’s most sought-
Toscanini, Richard Strauss, Mitropoulos, Bruno
                                                                                                             Leipzig Radio Choirs, the Orchestre                        after composers and music directors, and has
Walter, Cluytens, Ancerl, Bernstein, Münch,              increase in the number of permanent musicians
                                                                                                             Philharmonique de Monte-Carlo performed the                pursued a diverse career as a composer,
Sawallisch, Jochum, Giulini, Kubelik, Kondrashin,        to a total of 100. He was also responsible for an
                                                                                                             Berlioz Requiem, first in the Berlin Cathedral and         conductor and artistic director which has seen
Maazel, Mehta, Solti and many others.                    artistic evolution entailing more audacious
                                                                                                             then in Monaco’s Grimaldi Forum. March 2007                him working with almost all of the nation’s
                                                         programming: Messiaen’s Des canyons aux
The list of its Musical Directors includes Paul                                                              brought a new musical meeting for the                      music organisations.
                                                         étoiles… and Turangalîla-Symphonie, concert
Paray, Igor Markevitch, Lovro von Matačić,               versions of Strauss’ Elektra and Wagner’s           Orchestra’s anniversary season, with a                     Currently, he is Artistic Director of the West
Lawrence Foster, Gianluigi Gelmetti, James               Parsifal and works by Dutilleux, Jolas, Canat       memorable interpretation of Schoenberg’s                   Australian Opera, a post he has held since 1 997.
DePreist and Marek Janowski. Yakov Kreizberg is          de Chizy, Henze, Pärt, Penderecki, Sciarrino        Gurrelieder in conjuction with the Berlin Radio            From 2002 to 2008 he was Director of the
the current Artistic Director.                           and Zimmermann.                                     Symphony Orchestra, the Berlin and Leipzig                 Australian Music Project for the Tasmanian
                                                                                                             Radio Choruses and an array of international               Symphony Orchestra. In 2007/8, as well as being
Since 1953 the ‘Orchestre National de l’Opéra            Since 1956 the Orchestra has participated in        vocal soloists, at the Grimaldi Forum and in the           awarded an Ian Potter Foundation Fellowship, he
de Monte-Carlo’, renamed ‘Orchestre                      major festivals in Europe, the USA, Korea and       historic Berlin Philharmonie concert hall.                 conducted the Sydney, Melbourne and Tasmanian
                                                                                                             The Orchestre Philharmonique de Monte-Carlo is
                                                                                                             presided over by H.R.H. The Princess of Hanover.
                                                                                                             It enjoyed the support and encouragement of
                                                                                                             Prince Rainier III throughout the duration of his
                                                                                                             reign and its musicians will alw ays remember
                                                                                                             him fondly. Now that Prince Albert II has t aken
                                                                                                             over his father’s position, the Orchestra offers
                                                                                                             him its full confidence and esteem, while
                                                                                                             pursuing its chosen purpose in accordance with
                                                                                                             his will: to preser ve its authenticity and, at the
                                                                                                             same time, look toward the future with a
                                                                                                             dynamic policy of development.

                                                    24                                                                                                             25
Symphony Orchestras as well as The Queensland            Emblems and Totemic Journeys for the Sydney      Executive Producers Martin Buzacott, Robert                  Many people have been instrumental in the
Orchestra, Orchestra Victoria and Aida and The           Symphony Orchestra. He was Musica Viva’s         Patterson (ABC Classics), Cyrus Meher-Homji                  making of this project and R osario would especially
Magic Flute for West Australian Opera.                   Composer of the Year in 2008, in the course of   (Universal Music Australia)                                  like to thank:
                                                         which three of his string quartets were          Recording Producer Tim Oldham                                Joseph Ward OBE for the guidance given
Since his debut as an opera conductor at Opera                                                                                                                         throughout my career since my early days at
                                                         performed by the Goldner, Takács and Jerusalem   Associate Producer Cyrus Meher-Homji
Queensland with The Magic Flute , he now has a                                                                                                                         Queensland Conservatorium.
                                                         Quartets and a new song cycle was premiered      Recording Engineer Sylvain Denis
large repertoire of standard works, as well as a                                                                                                                       To my wonderful sister Anna-Maria; my parents
                                                         by Peter Coleman-Wright, Cheryl Barker and       Consultant Elisabeth T  urner
reputation for conducting contemporary opera                                                                                                                           Alfio and Francesca for their generosity, love and
                                                         Piers Lane.                                      Editorial and Production Manager Hilary Shrubb
and his own compositions.                                                                                                                                              support along the way.
                                                                                                          Publications Editor Natalie Shea
                                                         His extensive CD catalogue on the ABC Classics                                                                A special thank you to Cyrus Meher-Homji and
Richard Mills is one of the f ew Australian                                                               Booklet Design Imagecorp Pty Ltd
                                                         label includes Richard Mills: Orchestral Works                                                                Martin Buzacott for driving the wheel and making
composers who have been commissioned to                                                                   Cover Photograph Paul Gosney
                                                         with the Queensland Symphony Orchestra and                                                                    things happen.
write operas for main-stage performances in                                                               Photography Paul Gosney (Rosario La Spina),
                                                         Richard Mills: Concertos for Strings with the                                                                 The generous Liz Turner and of course, to my
Australia, and whose works (Summer of the                                                                 OPMC/Marco Borggreve (Orchestre Philharmonique               manager Patrick Togher and the team for keeping
                                                         Tasmanian Symphony Orchestra. His three-
Seventeenth Doll, Batavia and The Love of the                                                             de Monte-Carlo), Rachel Hirsch (Richard Mills),              it all coordinated and the cogs e ver turning.
                                                         volume album of the film music of F ranz
Nightingale) have not only been presented b y                                                             Rozarii Lynch (top, p21), Branco Gaica (middle, p21),        Last but by no means the least, to m y beautiful
                                                         Waxman with the Queensland Symphony
opera companies and festivals across Australia                                                            Jeff Busby (bottom, p21)                                     partner and love of my life Milijana, for not only
                                                         Orchestra, released on Sarabande Varese, was
but have also received the country’s most                                                                 Hair and Make-up Garry Siutz                                 putting up with me, but f or being there alongside
                                                         awarded the German Record Critics Prize.
prestigious awards.                                                                                                                                                    me every step of the journey.
                                                                                                          Recorded 9-13 September 2008 in the Auditorium
In 2009 his Passion according to St Mark was                                                              Rainier III, Monte Carlo.                                    This CD was made possible through the kind
performed by the Tasmanian and West                                                                                                                                    assistance of Di Bresciani (Youth Music Foundation
                                                                                                          I Lombardi alla prima crociat a, Madama Butterfly
Australian Symphony Orchestras and The                                                                                                                                 of Australia) and Piercarlo Casula.
                                                                                                          and Turandot are published by Universal Music
Queensland Orchestra.                                                                                     Publishers Ricordi S.R.L.                                    Universal Music Australia and ABC Classics would
                                                                                                          Granada is published by Peer Music of New York.              like to thank Peter Alexander, Leisa Radford, Andrew
Richard Mills’ works are regularly performed
                                                                                                                                                                       Greene, Rebecca Ameriks, Laura Hitchcock, Alexandra
throughout the world. His compositions include                                                            Aida, Il trovatore and O Holy Night are published
                                                                                                                                                                       Alewood, Katherine Kemp and Virginia Read.
a Concerto for Violin and Viola, a Flute Concerto                                                         by Kalmus.
                                                                                                                                                                          2009 Australian Broadcasting Corporation/Universal Music
commissioned by James Galway, Earth                                                                       Pagliacci is published by Casa Musicale Sonzogno di          Australia Pty Limited.   2009 Australian Broadcasting
Poem–Sky Poem for Aboriginal dancers, singers                                                             Piero Ostali.                                                Corporation/Universal Music Australia Pty Limited. Distributed
and electronic sound, Soundscapes for                                                                                                                                  in Australia and New Zealand by Universal Music Group, under
                                                                                                          The Land of Smiles is published by Glocken Verlag            exclusive licence. Made in Australia. All rights of the owner of
percussion and orchestra, music for the ballet                                                                                                                         copyright reserved. Any copying, renting, lending, diffusion,
                                                                                                          of London.
Snugglepot and Cuddlepie, Fantastic                                                                                                                                    public performance or broadcast of this record without the
Pantomimes and The Little Mermaid for the                                                                                                                              authority of the copyright owner is prohibited.

Melbourne Symphony Orchestra, and Tenebrae,

                                                    26                                                                                                            27

To top