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Tenor Arias Bellini Bizet Donizetti Mascagni Pacini Rossini Verdi Rossini's William Tell (1829), based on Schiller's play, tells of the heroic...

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Tenor Arias

Bellini Bizet Donizetti Mascagni Pacini Rossini Verdi

Rossini's William Tell (1829), based on Schiller's play, tells of the heroic fourteenth-century Swiss struggle against the oppressive rule of the Austrians. Melchthal has pledged with Tell to rid their country of foreign rule, and Melchthal's son, Arnold, has agreed to join them. Melchthal, however, trying to protect a local herdsman whose daughter an Austrian soldier was attempting to rape, is taken prisoner and executed. Arnold returns to his family home and laments the death of his father in the powerful aria Asile hereditaire [1], which Hector Berlioz thought to be the finest thing in Rossini's score.

In Donizetti's La fille du regiment (1840), Maria, a girl of uncertain parentage, was found on a battlefield and raised by the French 21st Regiment. During the French campaign into the Tyrolean Alps, Maria falls in love with a local villager, Tonio, who saved her from slipping over a dangerous precipice when she was picking flowers. French soldiers arrest Tonio, thinking he is a spy because of his lurking about camp to catch a glimpse of Maria, but she clears him of any guilt by explaining that he saved her life. Maria and Tonio declare their love. The soldiers insist that Maria may only marry a member of the regiment, however, so Tonio enlists and greets his new comrades in Ah! mes amis [2].

Act I of Donizetti's tragedy La favorite, composed for the Paris Opera in 1840, is set in 1340 in the Spanish monastery of St James at Compostela, where Fernand is a novice. As the monks process into the chapel, Balthazar, the Superior of the order and Fernand's father, notices a disquiet in his son. When he inquires about the source of the young man's agitation, Fernand replies with the aria Un ange, une femne inconnue [3], in which he confesses that he has become obsessed with a beautiful woman he saw praying in the chapel.

In the rivalry over the rule of thirteenth-century Sicily that motivates Bellini's Il pirata (1827), Gualtiero has been defeated and exiled by Ernesto, and has turned to a life of piracy to keep his cause alive. Both men loved Imogene, but Ernesto has coerced her into marrying him despite her love for Gualtiero by blackmailing her father, a supporter of Gualtiero's defeated party. The opera opens as a furious storm drives Gualtiero's ship onto the Sicilian shore, whereupon he confesses in Nel furor delle tempeste [4] & [5] that an angelic image of Imogene has stayed always in his thoughts.

Torna, vezzosa Fillide [6] dates from 1826, a year after Bellini had graduated from the Real Collegio di Musica in Naples and during the time that he was producing his first professionally staged opera, Bianca e Fernando, at the city's Teatro San Carlo. Torna, vezzosa Fillide, a shepherd's lament for his lost Phyllis by an unknown poet, shows Bellini's gifts for melody, dramatic expression and operatic scale to have been present from early in his career.

Giovanni Pacini, one of the most popular and prolific Italian composers of the second quarter of the nineteenth century, produced some ninety operas, a quantity of other music, several theoretical treatises and many journal articles. Born in 1796 in Catania, on the cast coast of Sicily, Pacini was trained in Bologna and Venice, and scored his first success in 1817 in Milan with the melodramma semiserio Adelaide e Comingio. He was appointed maestro di cappella to the Duchess Marie-Louise de Bourbon in Lucca in 1821, built himself a fine house in the coastal town of Viareggio (near where Giacomo Puccini would make his home seventy years later), and enjoyed excellent success for the next decade as composer and musical director for theatres in Naples and Milan. The failure of several operas in the early 1830s, however, halted his creative work for nearly five years, during which time he founded a successful music school and a private theatre in Viareggio and received an appointment as maestro di cappella to the archducal court of Lucca. After returning to operatic composition in 1839, Pacini incorporated harmonic and orchestral elements of the flourishing Romantic style and treated only serious subjects. He continued to compose after moving to Pescia, just east of Lucca, in 1855, but he was unable to meet the rising competition of Giuseppe Verdi, and largely devoted the remaining years until his death, in 1867, to teaching and writing instrumental music. Though Pacini was a talented melodist, the swift pace of his composition allowed for little polishing of the harmony, instrumentation and dramatic details of his works. "God help us if he knew music," Rossini once said, "No one could resist him."

In Bizet's 1875 opera, the seductive Carmen flirts with Don Jose, a guardsman in Seville's militia, during a break from her work at the cigarette factory. Carmen returns to the factory. A m�lee erupts; Carmen has stabbed one of the other girls. She is caught as she runs from the factory, bound, and left in the charge of Don Jose. She promises to meet him at a local tavern and reward him with her love if he will untie her hands and help her to escape. He does, and is imprisoned. After his release, he seeks out Carmen, and tells her of the special pleasure that the flower she gave to him had during his prison term in the lovely Flower Song [8].

Verdi's I Lombardi alla prima crociata (The Lombards at the First Crusade) of 1843 shows how Arvino leads the Lombards in an assault on Antioch. His daughter, Giselda, is captured by the Muslims. Oronte, a Muslim prince, falls in love with Giselda, and sings of his passion in La mia letizia infondere [9].

Luisa Miller (1849), based on Schiller's 1784 melodrama Kabale und Liebe (Intrigue and Love), tells of the title character's love for Rodolfo, son of Count Walter, and the machinations of Walter to keep them apart to conceal the fact that he has come into his noble title through murder. Luisa's father is taken prisoner, and to save his life she writes a letter to Rodolfo under Walter's duress claiming that she in fact loves another. Convinced of Luisa's faithlessness, Rodolfo sings of his heartbreak in Quando le sere al placido [10].

Il trovatore (1853), set in northern Spain at the beginning of the fifteenth century, is a tale of nobles and gypsies and the vengeful circumstances that bring them together to share tragedy. The mother of the gypsy Azucena has been burned at the stake as a witch by Count di Luna. As the old woman dies, she calls upon her daughter to avenge her death; Azucena steals the Count's infant brother. A baby's skeleton, found in the burned embers surrounding the stake, is assumed to be the missing child. The opera begins twenty years later. Manrico, believing himself to be the son of Azucena, is the enemy of Count di Luna. Both love Leonora, but it is Manrico's affections that she reciprocates. In Ah, s�, ben mio [!], Manrico acknowledges the strength that he finds in the love of Leonora. Count di Luna subsequently sentences Azucena to a fiery death at the stake on suspicion of spying, and Manrico sets off to rescue her in Di quella pira [12]. Through the tangled web of the story, Manrico is captured in battle by di Luna, who sentences his enemy to death. Leonora offers herself to di Luna in exchange for Manrico's life. Di Luna accepts, and agrees to release Manrico, but Leonora swallows poison concealed in her ring, and dies. Di Luna proceeds with Manrico's execution. Upon his death, Azucena announces that Manrico was, after all, the Count's younger brother, and that she has finally won a terrible vengeance for her mother's execution.

Mascagni's Cavalleria rusticana (1890) created a sensation when it was firsr staged on 17th May 1890 in Rome. The progenitor of an Italian operatic sub-species known as verismo (realism), it was one of the first modern operas to depict contemporary settings and characters on stage, and was produced with immediate and enormous success across Europe and in the United States. The one-act story is set in the square of a Sicilian village on Easter morning. Turiddu returns from the army to find that his former sweetheart, Lola, has married Alfio. With Lola unavailable, Turiddu consoles himself with the charms of the peasant girl, Santuzza. She falls in love with Turiddu, and is infuriated when he returns to Lola for an adulterous affair. Santuzza confronts Turiddu on the steps of the church when he appears to attend Mass, but he refuses to be a slave to her jealousy. Lola enters, singing a light-hearted ditty, grasps the situation at a glance, and exchanges bitter words with Santuzza. Turiddu, furious at the scene, hurls Santuzza to the ground, and escorts Lola into church. At this tense moment, Alfio enters, and Santuzza reveals to him his wife's illicit love for Turiddu. Alfio swears vengeance, and leaves. A crowd fills the square after the Easter service ends. Turiddu proposes a toast to the villagers, but Alfio spurns the glass of wine offered to him. Insulted, Turiddu challenges him to a duel, and bids a passionate farewell to his mother in the aria Mamma, quel vino � generoso [13]. Turridu and Alfio leave, and the villagers rush back into the square with the news that Turiddu has been killed.

Richard E. Rodda

Disc 1

Guillaume Tell (William Tell)

(more info)

Performed by: Zagreb Festival Orchestra Ukrainian National Opera Symphony Orchestra London Philharmonic Orchestra NBC Symphony Orchestra Catania Teatro Massimo Bellini Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Milan La Scala Orchestra
Composed by: Gioachino Rossini Arturo Toscanini
Conducted by: Steven Mercurio Michael Halasz Johannes Wildner David Parry
Igor Morozov, baritone
Lina Pagliughi, soprano
Alan Opie, baritone
Yvonne Kenny, soprano
Mary Plazas, soprano
Della Jones, mezzo-soprano
Anne Mason, mezzo-soprano
Janez Lotric, tenor
Marcello Giordani, tenor
Barry Banks, baritone

Guillaume Tell: Asile hereditaire - 10:07

La Fille du Regiment

(more info)

Performed by: Victor Orchestra New York Metropolitan Opera Orchestra Calgary Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra
Composed by: Gaetano Donizetti
Conducted by: Gabriele Santini Steven Mercurio Mario Bernardi Gennaro Papi Leo Blech
John McCormack, tenor
Salvatore Baccaloni, bass
Erna Berger, soprano
Lina Pagliughi, soprano
Toti Dal Monte, soprano
Irra Petina, mezzo-soprano
Raoul Jobin, tenor
Marcello Giordani, tenor
Lily Pons, soprano
Tracy Dahl, soprano
Recording date: 10 March 1928

La fille du regiment: Ah! mes amis, quel jour de fete! - 4:04

La favorita

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Performed by: Latvian National Symphony Orchestra Canadian Opera Company Orchestra Catania Teatro Massimo Bellini Orchestra Wurttemberg Philharmonic Orchestra Studio orchestra Orchestra Internazionale d'Italia Bratislava Philharmonic Orchestra
Composed by: Enrico Caruso Gaetano Donizetti
Conducted by: Lodovico Zocche Josef A. Pasternack Fabio Luisi Steven Mercurio Richard Bradshaw Alexandrs Vilumanis
Adelisa Tabiadon, soprano
Alessandro Veducci, vocals
Michele Farruggia, vocals
Elina Garanca, soprano
Beniamino Gigli, tenor
Alessandra Ruffini, soprano
Elvira Casazza, mezzo-soprano
Lado Ataneli, baritone
Marcello Giordani, tenor
Giuseppe Morino, tenor
Paolo Coni, baritone
Michael Schade, tenor
Russell Braun, baritone

La favorite: Un ange, une femme inconnue - 4:00

Il pirata

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Performed by: Catania Teatro Massimo Bellini Orchestra
Composed by: Vincenzo Bellini
Conducted by: Steven Mercurio
Marcello Giordani, tenor
Giovanni Guagliardo, baritone
Recording date: 10-16 December 2001

Il pirata: Nel furor delle tempeste - 2:51
Il pirata: Per te di vane lagrime - 2:03

Torna, vezzosa Fillide

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Performed by: Catania Teatro Massimo Bellini Orchestra
Composed by: Anonymous Vincenzo Bellini
Conducted by: Steven Mercurio
Ingrid Surgenor, piano
Dennis O'Neill, tenor
Marcello Giordani, tenor
Recording date: 10-16 December 2001

Torna, vezzosa Fillide - 7:31

La fidanzata (arr. S. Mercurio)

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Performed by: Catania Teatro Massimo Bellini Orchestra
Composed by: Giovanni Pacini
Conducted by: Steven Mercurio
Marcello Giordani, tenor
Recording date: 10-16 December 2001

La fidanzata corsa: Son giunto! - 6:35

Carmen

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Performed by: Victor Orchestra Canadian Opera Company Orchestra Bordeaux Aquitaine National Orchestra Oslo Philharmonic Orchestra Columbia Symphony Orchestra Laval Symphony Orchestra Stockholm Symphony Orchestra Sofia National Opera Orchestra New York Metropolitan Opera Orchestra Swedish Radio Orchestra Helsinki Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Quebec Symphony Orchestra Slovak Radio Symphony Orchestra Wurttemberg Philharmonic Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra Studio orchestra Paris Opera-Comique Orchestra Russia Philharmonia Metropolitan Orchestra Oslo Radio Orchestra
Composed by: Lawrence Tibbett Enrico Caruso Georges Bizet
Conducted by: Lodovico Zocche Clemens Schmalstich Steven Mercurio Walter B. Rogers Umberto Berrettoni Simon Streatfeild Franco Ghione Jacques Lacombe Fausto Cleva Nils Grevillius Ondrej Lenard Alexander Rahbari Ivan Marinov Alain Lombard Gilbert Patenaude Anatoly Maltsev Igor Agafonnikov Richard Bradshaw Andre Cluytens Jean Morel Constantine Orbelian Mikko Franck Oivin Fjeldstad Oyvind Berg
Thierry Tregan, tenor
Manon Feubel, soprano
Franck Leguerinel, baritone
Wilfrid Pelletier, narrator
John McCormack, tenor
Rina Gigli, soprano
Graciela Alperyn, mezzo-soprano
Nora Sourouzian, mezzo-soprano
Michael Bohnen, baritone
Licia Albanese, soprano
Beniamino Gigli, tenor
Richard Tauber, tenor
Leonard Warren, baritone
Maryse Castets, soprano
Christian Papis, narrator
Vincent Le Texier, baritone
Frances Alda, soprano
Richard Crooks, tenor
Peter Dvorsky, tenor
Charles Kullman, tenor
Doina Palade, soprano
Solange Michel, contralto
Michel Dens, baritone
Martha Angelici, mezzo-soprano
Jennie Tourel, mezzo-soprano
Dmitri Hvorostovsky, baritone
Raoul Jobin, tenor
Lucy Isabelle Marsh,
Nicola Ghiuselev, bass
Martine Olmeda, mezzo-soprano
Lado Ataneli, baritone
Giorgio Lamberti, tenor
Danilo Rigosa, bass
Ann Liebeck, soprano
Dalia Schaechter, soprano
Marcello Giordani, tenor
Marina Domashenko, mezzo-soprano
Lyne Fortin, soprano
Soile Isokoski, soprano
Barseg Tumanyan, baritone
Jussi Bjorling, tenor
Viktoria Smirnova, soprano
Gladys Swarthout, contralto
Alan Titus, baritone
Alain Trudel, sackbut
Beatrice Uria-Monzon, mezzo-soprano
Alexandrina Milcheva, mezzo-soprano
Verter Vrachovsky, tenor
Milen Paounov, tenor
Nikola Nikolov, tenor
Marnie Breckenridge, soprano
Anastasia Chikaeva, mezzo-soprano
Richard Margison, tenor
Liliana Vassileva, soprano
Stefka Popangelova, vocals
Tsvetanka Arshinkova, vocals
Pavel Gerdjikov, bass
Georgi Genov, baritone
Eva Gustavson, contralto
Dorothy Warenskjold, soprano

Carmen: Le fleur que tu m'avais jetee - 4:07

I Lombardi alla prima crociata

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Performed by: Victor Orchestra Canadian Opera Company Orchestra Rosario Bourdon Orchestra Catania Teatro Massimo Bellini Orchestra Philharmonia Orchestra
Composed by: Enrico Caruso Giuseppe Verdi
Conducted by: Steven Mercurio Walter B. Rogers Rosario Bourdon Richard Bradshaw David Parry
Dennis O'Neill, tenor
Clive Bayley, bass-baritone
Beniamino Gigli, tenor
Elisabeth Rethberg, soprano
Bianca Scacciati, soprano
Francesco Merli, tenor
Frances Alda, soprano
Marcel Journet, bass
Nazzareno de Angelis, bass
Marcello Giordani, tenor
Ezio Pinza, bass
Alastair Miles, bass
Marie Berard, violin

I Lombardi alla prima crociata: La mia letizia infondere - 2:29

Luisa Miller

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Performed by: Canadian Opera Company Orchestra London Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Europa Symphony
Composed by: Giuseppe Verdi
Conducted by: Jesus Lopez-Cobos Steven Mercurio Michael Halasz Richard Bradshaw David Parry Wolfgang Grohs
Dennis O'Neill, tenor
Clive Bayley, bass-baritone
Thomas Allen, baritone
Marina Mescheriakova, soprano
Brindley Sherratt, bass
Marcello Giordani, tenor
Louis Quilico, baritone
Alastair Miles, bass
Richard Margison, tenor
Recording date: 10-16 December 2001

Luisa Miller: Quando le sere al placido - 5:04

Il trovatore

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Performed by: Polish National Opera Orchestra Victor Orchestra Canadian Opera Company Orchestra Laval Symphony Orchestra Vienna State Opera Orchestra Ukrainian National Opera Symphony Orchestra Stockholm Symphony Orchestra RCA Victor Orchestra Estonian State Symphony Orchestra Edmonton Symphony Orchestra London Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Rome Opera Orchestra Nils Grevillius Orchestra Hungarian State Opera Orchestra Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Milan La Scala Orchestra Dresden Staatskapelle Studio orchestra Russia Philharmonia
Composed by: Lawrence Tibbett Enrico Caruso Giuseppe Verdi
Conducted by: Jacek Kaspszyk Herbert von Karajan Eri Klas Will Humburg Clemens Schmalstich Giulio Setti Steven Mercurio Lorenzo Molajoli Walter Goehr Umberto Berrettoni Renato Cellini Mario Bernardi Jacques Lacombe Oliver Dohnanyi Nils Grevillius Michael Halasz Alexander Rahbari Johannes Wildner Uri Mayer Karl Alwin Charles Rosekrans Richard Bradshaw Vincenzo Bellezza Constantine Orbelian David Parry Kurt Striegler Ivan Anguelov
Manon Feubel, soprano
Sondra Radvanovsky, soprano
Louise Homer, contralto
Beata Ulas, soprano
Agnieszka Wolna, alto
Maria Nemeth, soprano
Joseph Schwarz, tenor
Renato Ercolani, tenor
Luisa Villa, mezzo-soprano
Dennis O'Neill, tenor
Clive Bayley, bass-baritone
Beniamino Gigli, tenor
Frida Leider, soprano
Richard Tauber, tenor
Leonard Warren, baritone
Nathaniel Sprinzena, tenor
Giuseppe Di Stefano, tenor
Sharon Sweet, soprano
Bianca Scacciati, soprano
Enrico Molinari, tenor
Giuseppina Zinetti, soprano
Francesco Merli, tenor
Frances Alda, soprano
Ernestine Schumann-Heink, contralto
Fedora Barbieri, mezzo-soprano
Riccardo Stracciari, baritone
Giovanni Martinelli, tenor
Maurizio Frusoni, tenor
Zsuzsa Csonka, soprano
Franco de Grandis, bass
Richard Bonelli, baritone
Irina Tchistjakova, mezzo-soprano
Thomas Harper, tenor
Hans Hopf, tenor
Zinka Milanov, soprano
Nicola Moscona, bass
Margaret Roggero, mezzo-soprano
Paul Franke, tenor
George Cehanovsky, baritone
Dmitri Hvorostovsky, baritone
Alan Opie, baritone
Yaroslava Poberezhna, soprano
Ruslan Tansky, tenor
Joseph Schmidt, tenor
Marian Vach, choirmaster
Nicola Zaccaria, bass
Mark Le Brocq, tenor
Robert Merrill, baritone
Lado Ataneli, baritone
Sandor Pasztor, bass
Janos Tandari, tenor
Daniela Longhi, soprano
Jorma Hynninen, baritone
Marcello Giordani, tenor
Maria Callas, soprano
Rolando Panerai, baritone
Franco Calabrese, bass
Max Saal,
Jozsef Mukk, tenor
Giulio Mauri,
Alexander Vinogradov, bass
Hui He, soprano
Marina Domashenko, mezzo-soprano
Rosa Ponselle, soprano
Indra Thomas, soprano
Louis Quilico, baritone
Roberto Servile, baritone
Jussi Bjorling, tenor
Renata Tebaldi, soprano
Eduard Tumagian, baritone
Richard Margison, tenor
Cloe Elmo, mezzo-soprano
Austin Miskell, tenor
Elsa Gutierrez, contralto
Arnaldo Garcia, piano

Il Trovatore: Ah, si, ben mio, coll'essere - 3:17
Il Trovatore: Di quella pira l'orrendo foco - 2:12

Cavalleria rusticana

(more info)

Performed by: Victor Orchestra Royal Opera House Orchestra, Covent Garden Stockholm Symphony Orchestra Stockholm Royal Opera Orchestra RCA Victor Orchestra Belgian Radio and Television Philharmonic Orchestra New York Metropolitan Opera Orchestra Swedish Radio Orchestra Moscow Symphony Orchestra Pierre Rameau Orchestra Catania Teatro Massimo Bellini Orchestra Swedish Radio Symphony Orchestra Nils Grevillius Orchestra Montreal Opera Orchestra Moscow Radio Symphony Orchestra Slovak Radio Symphony Orchestra San Francisco Opera Orchestra Milan La Scala Orchestra Studio orchestra Russian Philharmonia Metropolitan Orchestra Romanian Opera Orchestra, Bucgarest
Composed by: Sten Frykberg Enrico Caruso Pietro Mascagni
Conducted by: Gaetano Merola Enrico Sivieri Victor Trucco Giulio Setti Carlo Sabajno Steven Mercurio Klaus-Peter Hahn Lorenzo Molajoli Pierre Rameau Renato Cellini Nils Grevillius Michael Halasz Ondrej Lenard Alexander Rahbari Tullio Serafin Joseph Rescigno Antonio de Almeida Constantine Orbelian Ivan Anguelov Mircea Popa
Lina Bruna-Rasa, soprano
Ebe Ticozzi, mezzo-soprano
Ferruccio Tagliavini, tenor
Kitty Wilson, harp
Pia Tassinari, mezzo-soprano
Licia Albanese, soprano
Beniamino Gigli, tenor
Gino Bechi, baritone
Maria Marcucci, mezzo-soprano
Giuseppe Di Stefano, tenor
Stefka Evstatieva, soprano
Francis Lapitino, harp
Giacomo Aragall, tenor
Alzbeta Michalkova, contralto
Maria Zamboni, soprano
Thomas Harper, tenor
Zinka Milanov, soprano
Margaret Roggero, mezzo-soprano
Dusolina Giannini, soprano
Galina Gorchakova,
Claramae Turner, contralto
Vittore Veneziani, choirmaster
Yannick Nezet-Seguin,
Marc Hervieux, tenor
Robert Merrill, baritone
Marcello Giordani, tenor
Maria Arghiracopulos, mezzo-soprano
Salvatore Cottone, piano
Anna di Mauro, mezzo-soprano
Maria Callas, soprano
Rolando Panerai, baritone
Carol Brice, contralto
Diana Soviero, soprano
Anna Maria Canali, mezzo-soprano
Jussi Bjorling, tenor
Eduard Tumagian, baritone
Cornel Stavru, baritone
Recording date: Week ending 5 December 1919

Cavalleria Rusticana: Mamma, quel vino e generoso - 4:08

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Composer(s):
Anonymous; Bellini, Vincenzo; Bizet, Georges; Donizetti, Gaetano; Mascagni, Pietro; Pacini, Giovanni; Rossini, Gioachino; Verdi, Giuseppe

Conductor(s):
Mercurio, Steven

Orchestra(s):
Catania Teatro Massimo Bellini Orchestra

Artist(s):
Arghiracopulos, Maria; Giordani, Marcello; Guagliardo, Giovanni

Label: Naxos Classics
UPC: 747313226924
Item Number: 8557269
Release Date: Nov 1, 2003