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31/08/2009
25) Daniel Aubert Fra Diavolo
Fra Diavolo - Nicolai Gedda
Lord Cockburn - Rémi Corazza
Lady Pamela - Jane Berbié
Lorenzo - Thierry Dran
Mathéo - Jules Bastin
Zerline - Mady Mesplé
Giacomo - Michel Trempont
Beppo - Michel Hamel
Francesco - Michel Marimpouy
Soldier - Régis Ducrocq
Ensemble Choral Jean Leforge
Orchestra Philharmonique de Monte-Carlo
Marc Soustrot, conductor
SYNOPSIS:
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The original of the story of "Fra Diavolo“is to he found in Lesueur’s opera, “La Caverne,” afterwards arranged as a spectacular piece and produced in Paris in 1808 by Cuvellier and Franconi, and again in Vienna in 1822 as a spectacle-pantomime, under the title of "The Robber of the Abruzzi.“In Scribe’s adaptation the bandit, Fra Diavolo, encounters an English nobleman and his pretty and susceptible wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on the eve of starting to capture Fra Diavolo when the action of the opera begins.
In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by Fra Diavolo’s band. The bandit himself, who has followed them on their journey in the disguise of a marquis, and has been particularly attentive to the lady, enters the inn
as Lord Allcash has been reproving his ‘wife for her familiarity with a stranger. A quarrel ensues in a duet of a very humorous character (“I don’t. object”). Upon the entrance of Fra Diavolo, a quintet (“Oh, Rapture unbounded!”) occurs, which is one of the most effective and admirably harmonized ensembles Auber has ever written. Fra Diavolo learns the trick by which they saved the most of their valuables, and, enraged at the failure of his band, lays his own plan to secure them. In an interview with Zerlina, she, mistaking him for the Marquis, tells him the story of Fra Diavolo in a romanza (“On yonder Rock reclining”), which is so fresh, vigorous, and full of color, that it has become a favorite the world over. To further his schemes, Fra Diavolo makes love to Lady Allcash and sings a graceful barcarole to her (“The Gondolier, fond Passion’s Slave”), accompanying himself on the mandolin. Lord Allcash interrupts the song, and the trio, “Bravi, Bravi,” occurs, which leads up to the finale of the act. Fra Diavolo eludes the carbineers, who have returned, and they resume their search for him, leaving him unmolested to perfect his plans for the robbery.
The second act introduces Zerlina in her chamber about to retire. She first lights Lord and Lady Allcash to their room, a running conversation occurring between them in a trio (“Let us, I pray, good wife, to rest”), ‘which is one of the best numbers in the work. Before Zerlina returns to her chamber, Fra Diavolo and his companions, Beppo and Giacomo, conceal themselves in a closet, and, somewhat in violation of dramatic consistency, Fra Diavolo sings the beautiful serenade, “Young Agnes,” which had been agreed upon as a signal to his comrades that the coast was clear. Zerlina enters and after a pretty cavatina (“ ‘T is To-morrow”) and a prayer, charming for its simplicity (“Oh, Holy Virgin”), retires to rest. The robbers, in attempting to cross her room, partially arouse her. One of them rushes to the bed to stab her, but falls back awestricken as she murmurs her prayer and sinks to rest again. The trio which marks this scene, sung pianissimo, is quaint and simple and yet very dramatic. The noise of the carbineers returning outside interrupts the plan of the robbers. They conceal themselves in the closet again. Zerlina rises and dresses herself. Lord and Lady Allcash rush in en déshabillé to find out the cause of the uproar. Lorenzo enters to greet Zerlina, when a sudden noise in the closet disturbs the company. Fra Diavolo, knowing he will be detected, boldly steps out into the room and declares that he is there to keep an appointment with Zerlina. Lorenzo challenges him, and he promises to give him satisfaction in the morning, and coolly effects his escape. One of his comrades, however, is captured, and to secure his own liberty agrees to betray his chief.
The third act introduces Fra Diavolo once more among his native mountains, and there is the real breath and vigor of the mountain air in his opening song (“Proudly and wide my Standard flies”), and rollicking freedom in the rondeau which follows it (“Then since Life glides so fast away”). He exults in his liberty, and gleefully looks forward to a meeting with Lord and Lady Allcash, which he anticipates will redound to his personal profit. His exultation is interrupted by the entrance of the villagers arrayed in festival attire in honor of the approaching wedding ceremonies, singing a bright pastoral chorus (“Oh, Holy Virgin! bright and fair”). The finale of the act is occupied with the development of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and with the final tragedy, in which Fra Diavolo meets his doom at the hands of the carbineers, but not before he has declared Zerlina’s innocence. This finale is strong and very dramatic, and yet at the same time simple, natural, and unstudied. The opera itself has always been a favorite, not alone for its naturalness and quiet grace, but for the bright and even boisterous humor, which is displayed by the typical English tourist, who was for the first time introduced in opera by Scribe. The text is full of spirit and gayety, and these qualities are admirably reflected in the sparkling music of Auber. How well it was adapted for musical treatment is shown by the fact that “Fra Diavolo” made Auber’s reputation at the Opera Comique.
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30/08/2009
24) Wolfgang Amadeus Mozart Don Giovanni - live performance
Don Giovanni - Antonio Campo
Leporello - Marcello Cortis
Donna Anna - Teresa Stich-Randall
Don Ottavio - Nicolai Gedda
Donna Elvira - Suzanne Danco
Masetto - André Vesseries
Zerlina - Anna Moffo
Commendatore - Raffaele Arié
Orchestra of Société des Concerts Lamoureux
Conductor Hans Rosbaud
Registration from live performance, Festival of Aix-en-Provence, 1956
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29/08/2009
21) Igor Stravinski Persephone
Nicolai Gedda, Tenor
Claude Nollier, narrator
The Choir of Paris University conducted by Jean Gitton.
Orchestra of the Paris Conservatory, Andre Cluytens, conductor.
Recorded in Paris - December 1955.
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20) Giacomo Puccini La boheme
28/08/2009
19) Georges Bizet Les pêcheurs de perles
Leila, priestess - Janine Micheau
Nadir, fisherman - Nicolai Gedda
Zurga, leader of the fishermen - Ernest Blanc
Nourabad, high priest - Jaques Mars
Chorus and Orchestra of the Théâtre National de l'Opéra-Comique
Pierre Dervaux, conductor
Recording from October 1960 (Paris)
SYNOPSIS:
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In Ceylon Zurga is chosen leader of the fishermen and resumes his friendship with the young Nadir, who has been wandering in the forest, recalling their love for a girl they had once seen in Candy.
A veiled woman arrives, to pray for the pearl-fishers, accompanied by the priest Nourabad. She is recognised by Nadir as Leyla, the girl he had once seen, but not by Zurga. Leyla and Nourabad enter the Hindu temple, leaving Nadir, now alone, to admit his love for Leyla, whom he has followed. As she sings her temple prayer, she hears his voice and her song turns to a song of love. Nadir and Leyla meet at night in the temple where she is watching, but their discovery leads to popular anger and threats of death. Zurga intervenes to help Nadir and Leyla escape, but
when Nourabad reveals the identity of Leyla, Zurga changes to anger, and condemns the couple to death once more. Leyla pleads with Zurga for his friend Nadir's life, but in vain. It is, however, Zurga who saves them, as they are about to be killed, diverting the attention of the people by setting fire to their camp, thus allowing
them to escape.
Fashionably exotic in its story, Les pêcheurs de perles (The Pearl-Fishers) reflects various musical influences, including those of Verdi, Meyerbeer and, inevitably, Gounod. The best known music from the opera is found in the duet for Zurga and Nadir, when they recall their friendship and the girl they had once seen,
Au fond du temple saint (Within the sacred temple). Nadir's soliloquy, overheard by Leyla, Je crois entendre encore (I think I hear again), has a firm place in tenor repertoire, while sopranos may find their own sustenance in Leyla's moving cavatina, Comme autrefois dans la nuit sombre (As once in the dark forest), as she awaits her nocturnal meeting with Nadir.
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18) Recital in Moscow with Ljudmila Mogilevskaja (piano)
1. I remember a wonderful moment
2. Islet
3. In the middle of the noisy ball
4. At my window
5. Spruce and palm
6. Doubt
7. Why
8. Lilac
9. Where are you, little star
10. Do not sing, fair maiden
11. A dream
12. He-goat
13. What, beautiful maiden
14. Ah, you deary
Recital in Moscow in March 1980
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