Recital

Théâtre du Capitole de Toulouse
Théâtre du Capitole
https://www.theatreducapitole.fr

Toulouse
  • November 2019
    09
    Saturday
    20:00 > 22:00
    2 hours
Find out more about the Program

Recital

Program
  • Ne ornerà la bruna chioma

    di Gaetano Donizetti
  • La Gondola

    di Gaetano Donizetti
  • Malinconia, ninfa gentile

    di Vincenzo Bellini
  • La Ricordanza

    di Vincenzo Bellini
  • Ad una stella

    di Giuseppe Verdi
  • Lo spazzacamino

    di Giuseppe Verdi
  • Paraphrase de concert sur Rigoletto

    di Franz Liszt
  • Ah! non credea mirarti... Ah! non giunge

    taken from La Sonnambula di Vincenzo Bellini
  • Befreit op. 39 n°4

    di Richard Strauss
  • Ich schwebe op. 48 n°2

    di Richard Strauss
  • Morgen op. 27 n°4

    di Richard Strauss
  • Amor op. 68 n°5

    di Richard Strauss
  • Chère Nuit

    di Alfred Bachelet
  • Villanelle

    di Eva dell’Acqua
  • A Vos Jeux, Mes Amis

    di Ambroise Thomas

Press & Reviews

Connessi all'Opera
Francesco Bertini
Gala lirico L’Opera per la vita
This review refers to L'Opera per la Vita at Associazione Lirica Trevigiana.
Not available in English
La sua prova appare maiuscola, in particolare per quanto attiene l’utilizzo sempre fluido e naturale dei registri acuto e sopracuto, la rotondità della zona centrale e l’attento dosaggio delle sfumature, tanto rilevanti in “Ah, non credea mirarti… Ah! Non giunge” da La sonnambula di Bellini e nell’ampio finale del primo atto della Traviata, dove il soprano investe appieno i propri mezzi per tornire compiutamente i cangianti stati d’animo di Violetta.

Excerpts

Ne ornerà la bruna chioma

by Gaetano Donizetti
Lyrics
Maggior di nostra speme oggi campagne disperdan le selve, a' patrii tetti parte sen rechi e se ne serbi parte in dono agli stranieri. Ampio da lor riporterem tesoro delle dovizie che al possente duce il lontano da noi mondi produce. Nè ornerà la bruna chioma qualche gemma rilucente, che a guerrieri dell'Oriente più bel sol pingendo va. E la figlia del deserto, abbellita da quel serto, qualche grazia agl'occhio loro, qualche vezzo acquisterà. Caro bene, al tuo cospetto vani fregi io non desio. Bella sol dell'amor mio, nel tuo seno volerò. Se tu m'ami o mio diletto, ogni bella io vincerò.

La Gondola

by Gaetano Donizetti
Lyrics
Meco in barchetta celere Scendi, leggiadra Clori. Vieni, cerchiamo ai zeffiri Conforto degli ardori Che riscaldano il dì. Vieni, già l'onda tremola È specchio della luna, E come l'aure baciano La placida laguna Te bacieran così. Vieni, e il tuo crin nerissimo In preda all'aure ondeggi, E del mio core il palpito Coll'ondeggiar pareggi, Se pareggiar si può. Vedrai nel cielo limpido Brillar lucenti stelle, A cui due luci fulgide Iddio creò sorelle, E il tuo bel viso ornò. Scendi, vezzosa Cloride, E me vedrai beato, E in estasi soavissima Di te seduto a lato Mi pascerò d'amor. E la tua destra candida Al petto mollemente Fa che mi possa premere, E il palpito frequente Intenda del mio cor.

Malinconia, ninfa gentile

by Vincenzo Bellini
Lyrics
Malinconia, Ninfa gentile, la vita mia consacro a te; i tuoi piaceri chi tiene a vile, ai piacer veri nato non è. Fonti e colline chiesi agli Dei; m'udiro alfine, pago io vivrò, né mai quel fonte co' desir miei, né mai quel monte trapasserò.

La Ricordanza

by Vincenzo Bellini
Lyrics
Era la notte, e presso di Colei Che sola al cor mi giunse e vi sta sola, Con quel pianger che rompe la parola, Io pregava mercede a martir miei. Quand' Ella, chinando gli occhi bei, Disse (e il membrarlo sol me, da me invola): Ponmi al cor la tua destra, e ti consola: Ch'io amo e te sol' amo intender dei, Poi fatta, per amor, tremante e bianca, In atto soävissimo mi pose La bella faccia sulla spalla manca. Se dopo il dole assai più duol l'amaro; Se per me nullo istante a quel rispose, Ah! quant' era in quell' ora il morir caro!

Ad una stella

by Giuseppe Verdi
Lyrics
Bell'astro della terra, Luce amorosa e bella, Come desia quest'anima Oppressa e prigioniera Le sue catene infrangere, Libera a te volar! Gl'ignoti abitatori Che mi nascondi, o stella, Cogl'angeli s'abbracciano Puri fraterni amori, Fan d'armonie cogl'angeli La spera1 tua sonar. Le colpe e i nostri affanni Vi sono a lor segreti, Inavvertiti e placidi Scorrono i giorni e gli anni, Nè mai pensier li novera, Nè li richiama in duol. Bell'astro della sera, Gemma che il cielo allieti, Come alzerà quest'anima Oppressa e prigioniera Dal suo terreno carcere Al tuo bel raggio il vol!

Lo spazzacamino

by Giuseppe Verdi
Lyrics
Lo spazzacamin! Son d'aspetto brutto e nero, Tingo ognun che mi vien presso; Sono d'abiti mal messo, Sempre scalzo intorno io vo. Ah! di me chi sia più lieto Sulla terra dir non so. Spazzacamin! Signori, signore, lo spazzacamin Vi salva dal fuoco per pochi quattrin. Ah! Signori, signore, lo spazzacamin! Io mi levo innanzi al sole E di tutta la cittade Col mio grido empio le strade E nemico alcun non ho. Ah, di me chi sia più lieto Sulla terra dir non so. Spazzacamin! Signori, signore, lo spazzacamin Vi salva dal fuoco per pochi quattrin. Ah! Signori, signore, lo spazzacamin! Talor m'alzo sovra i tetti, Talor vado per le sale; Col mio nome i fanciuletti Timorosi e quieti io fo. Ah, di me chi sia più lieto Sulla terra dir non so. Spazzacamin! Signori, signore, lo spazzacamin Vi salva dal fuoco per pochi quattrin. Ah! Signori, signore, lo spazzacamin!

Paraphrase de concert sur Rigoletto

by Franz Liszt
The 'Paraphrase de concert sur Rigoletto, S. 434' is a concert piece composed by Franz Liszt at some point between the years 1855 and 1859. It is based on the famous opera by Verdi (specifically on Act III, no. 18: "Bella figlia dell'amore"), and catalogued as S. 434, LW.A 187, and R. 267. The Paraphrase was first published in 1860 in Hamburg and Leipzig by Schuberth & Co. The first noted performance of this works dates from 1862, but it is not certain that it was the premiere.

Ah! non credea mirarti... Ah! non giunge

taken from La Sonnambula by Vincenzo Bellini
While sleepwalking, Amina prays for Elvino and then sings her sorrow. She remembers the engagement ring that he took from her when he believed she was unfaithful to him.
Lyrics
Ah,non credea mirarti si presto estinto, o fiore; passasti al par d'amore, che un giorno sol(o) duro. Potria novel vigore il pianto mio recarti ma ravvivar l'amore il pianto mio, ah no, non puo. Ah, non giunge uman pensiero al contento ond'io son piena: a miei sensi io credo appena; tu m'affida o mio tesor. Ah, mi abbraccia, e sempre insieme, sempre uniti in una speme, della terra, in cui viviamo ci formiamo un ciel d'amor.

Befreit op. 39 n°4

by Richard Strauss
Dehmel wrote about the poem: I, for my part, had the picture of a man speaking to his dying wife. But, as works of art only aim at arousing human sensations and feelings in rhythmic harmony, I do not mind in the least that the allegory is also conceived of the other way around ... it can also allude to any kind of loving couple. Such mutual elevations of the soul – at least noble souls – apply not only to death, but to any parting for life; for every leave taking is related to death, and what we give up forever, we give back to the world ..
Lyrics
Du wirst nicht weinen. Leise, leise wirst du lächeln: und wie zur Reise geb' ich dir Blick und Kuß zurück. Unsre lieben vier Wände! Du hast sie bereitet, ich habe sie dir zur Welt geweitet -- o Glück! Dann wirst du heiß meine Hände fassen und wirst mir deine Seele lassen, läßt unsern Kindern mich zurück. Du schenktest mir dein ganzes Leben, ich will es ihnen wiedergeben -- o Glück! Es wird sehr bald sein, wir wissen's beide, wir haben einander befreit vom Leide; so geb' ich dich der Welt zurück. Dann wirst du mir nur noch im Traum erscheinen und mich segnen und mit mir weinen -- o Glück!

Ich schwebe op. 48 n°2

by Richard Strauss
Lyrics
Ich schwebe wie auf Engelsschwingen, Die Erde kaum berührt mein Fuß, In meinen Ohren hör' ich's klingen Wie der Geliebten Scheidegruß. Das tönt so lieblich, mild und leise, Das spricht so zage, zart und rein, Leicht lullt die nachgeklung'ne Weise In wonneschweren Traum mich ein. Mein schimmernd Aug' -- indeß mich füllen Die süßesten der Melodien, -- Sieht ohne Falten, ohne Hüllen Mein lächelnd Lieb' vorüberziehn

Morgen op. 27 n°4

by Richard Strauss
Strauss had met Mackay in Berlin, and set Morgen! to music on 21 May 1894. It was one of his four Lieder Opus 27, a wedding present to his wife Pauline. Initially, he set the accompaniment for piano alone, and for piano with violin. In 1897 he arranged the piece for orchestra with violin solo. "Morgen!" remains one of Strauss's best-known and most widely recorded works. Strauss himself recorded it in 1919 accompanying the tenor Robert Hutt on the piano, and again in 1941 conducting the orchestral version with tenor Julius Patzak and the Bavarian State Orchestra. His last recording of it was 11 June 1947, a live broadcast on radio with Strauss conducting the Orchestra della Svizzera Italiana and soprano Annette Brun.
Lyrics
Und morgen wird die Sonne wieder scheinen Und auf dem Wege, den ich gehen werde, Wird uns, die Glücklichen, sie wieder einen Inmitten dieser sonnenatmenden Erde ... Und zu dem Strand, dem weiten, wogenblauen, Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen schauen, Und auf uns sinkt des Glückes stummes Schweigen ...

Amor op. 68 n°5

by Richard Strauss
"Amor" (Cupid) is based on a poem in three stanzas of six lines each, with the incipit "An dem Feuer saß das Kind" (By the fire sat the child)
Lyrics
An dem Feuer saß das Kind Amor, Amor Und war blind; Mit dem kleinen Flügel fächelt In die Flammen er und lächelt, [Fächle, lächle,]1 schlaues Kind. Ach, der Flügel brennt dem Kind! Amor, Amor Läuft geschwind! "O wie [mich]2 die Glut durchpeinet!" Flügelschlagend laut er weinet; In der Hirtin Schoß entrinnt Hülfeschreiend das schlaue Kind. Und die Hirtin hilft dem Kind, Amor, Amor Bös und blind. Hirtin, sieh, dein Herz entbrennet, Hast den [Schelm du]3 nicht gekennet. Sieh, die Flamme wächst geschwinde. Hüt dich vor dem schlauen Kind!

Chère Nuit

by Alfred Bachelet
Alfred Bachelet wrote his best-known song, Chère nuit, for the great Australian coloratura Nellie Melba. This is mélodie at its most opulent and operatic, replete with the lushest Romantic harmonies, rapturous quivering figures in the piano-cum-orchestra, and ecstatic high notes galore. from notes by Susan Youens © 2015
Lyrics
Voici l'heure bientôt. Derrière la colline je vois le soleil qui décline Et cache ses rayons jaloux ... J'entends chanter l'âme des choses Et les narcisses et les roses M'apportent des parfums plus doux! Chére nuit aux clartés sereines Toi que ramènes le tendre amant Ah! descends et voile la terre De ton mystère calme et charmant. Mon bonheur renaît sous ton aile O nuit plus belle que les beaux jours: Ah! lève-toi pour faire encore Briller l'aurore de mes amours?

Villanelle

by Eva dell’Acqua
Lyrics
J'ai vu passer l'hirondelle Dans le ciel pur du matin: Elle allait, à tire-d'aile, Vers le pays où l'appelle Le soleil et le jasmin. J'ai vu passer l'hirondelle! J'ai longtemps suivi des yeux Le vol de la voyageuse... Depuis, mon âme rêveuse L'accompagne par les cieux. Ah! ah! au pays mystérieux! Et j'aurais voulu comme elle Suivre le même chemin... J'ai vu passer l'hirondelle, etc.

A Vos Jeux, Mes Amis

by Ambroise Thomas
Lyrics
A vox jeux, mes amis, permettez-moi de grâce de prendre part! Nul n'a suivi ma trace. J'ai quitté le palais aux premiers feux du jour. Des larmes de la nuit, la terre était mouillée, Et l'alouette, avant l'aube éveillée, Planait dans l'air, ah!... Ah!... Planait dans l'air! Mais vous, pourquoi parler bas? Ne me reconnaissez-vous pas? Hamlet est mon époux, et je suis Ophélie! Un doux serment nous lie. Il m'a donné son cœur en échange du mien, Et si quelqu'un vous dit Qu'il me fuit et m'oublie, etc. N'en croyez rien! Si l'on vous dit qu'il m'oublie, N'en croyez rien; Non, Hamlet est mon époux, et moi, Et moi, je suis Ophélie. S'il trahissait sa foi, j'en perdrais la raison! Partagez-vous mes fleurs! (à une jeune fille) A toi cette humble branche De romarin sauvage. Ah!... Ah!... (à une autre) A toi cette pervenche. Ah!... Ah!... Et maintenant écoutez ma chanson! Pâle et blonde Dort sous l'eau profonde La Willis au regard de feu! Que Dieu garde Celui qui s'attarde Dans la nuit au bord du la bleu! Heureuse l'épouse Aux bras de l'époux! Mon âme est jalouse D'un bonheur si doux! Nymphe au regard de feu, Hélas! tu dors sous les eaux du la bleu! Ah!... ¡Ah!... ¡Ah!... La la la la! La la la la! Ah!... etc. La sirène Passe et vous entraîne Sous l'azur du lac endormi. L'air se voile, Adieu! blanche étoile! Adieu ciel, adieu doux ami! Heureuse l'épouse Aux bras de l'époux! Mon âme est jalouse D'un bonheur si doux! Sous les flots endormis, ah! Pour toujours, adieu, mon doux ami! Ah!... Ah!... Ah!... La la la la, etc. Ah! cher époux! Ah! cher amant! Ah!... Ah!... Ah!... Doux aveu! Ah! tendre serment! Bonheur suprême! Ah! cruel! Je t'aime! Ah!... Ah!... Ah!... Ah! cruel, tu vois mes pleurs! Ah! Pour toi je meurs! Ah!... Ah!... Ah!... je meurs!

Gaetano Donizetti

Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) along with Gioachino Rossini and Vincenzo Bellini, was a leading composer of the bel canto opera style during the first half of the nineteenth century. Born in Bergamo in Lombardy, was taken, at an early age, under the wing of composer Simon Mayr who had enrolled him by means of a full scholarship. Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione. Over the course of his career, Donizetti wrote almost 70 operas. An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844. In all, Naples presented 51 of Donizetti's operas. Before 1830, success came primarily with his comic operas, the serious ones failing to attract significant audiences. However, his first notable success came with an opera seria, Zoraida di Granata, which was presented in 1822 in Rome. In 1830, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as L'elisir d'amore (1832) and Don Pasquale (1843). Significant historical dramas did appear and became successful; they included Lucia di Lammermoor (the first to have a libretto written by Salvatore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837. Up to that point, all of his operas had been set to Italian libretti. Donizetti found himself increasingly chafing against the censorial limitations which existed in Italy (and especially in Naples). From about 1836, he became interested in working in Paris, where he saw much greater freedom to choose subject matter, in addition to receiving larger fees and greater prestige. From 1838 onward, with an offer from the Paris Opéra for two new works, he spent a considerable period of the following ten years in that city, and set several operas to French texts as well as overseeing staging of his Italian works. The first opera was a French version of the then-unperformed Poliuto which, in April 1840, was revised to become Les martyrs. Two new operas were also given in Paris at that time. As the 1840s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna continuing to compose and stage his own operas as well as those of other composers. But from around 1843, severe illness began to take hold and to limit his activities. Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in April 1848.

Vincenzo Bellini

Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before' " A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his "long, long, long melodies ..." Wagner, who rarely liked anyone but himself, was spellbound by Bellini's almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti's having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. "The genuine triumph" of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.

Giuseppe Verdi

Giuseppe Fortunino Francesco Verdi (9 or 10 October 1813 – 27 January 1901) was an Italian opera composer. Verdi was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works significantly influenced him, becoming one of the pre-eminent opera composers in history. In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi however did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893). His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata, and the bicentenary of his birth in 2013 was widely celebrated in broadcasts and performances.

Franz Liszt

Franz Liszt ( 22 October 1811 – 31 July 1886) was a Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, and organist of the Romantic era. He was also a writer, a philanthropist, a Hungarian nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist. He was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, and Alexander Borodin. A prolific composer, Liszt was one of the most prominent representatives of the New German School (Neudeutsche Schule). He left behind an extensive and diverse body of work which influenced his forward-looking contemporaries and anticipated 20th-century ideas and trends. Among Liszt's musical contributions were the symphonic poem, developing thematic transformation as part of his experiments in musical form, and radical innovations in harmony.

Richard Strauss

Richard Georg Strauss 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism after Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

Alfred Bachelet

Born in Paris, Bachelet studied at the Conservatoire de Paris with Ernest Guiraud and obtained the second Grand Prix de Rome in 1890 with his cantata Cléopâtre after a text by Fernand Beissier. He was conductor of the choir in 1907, then conductor of the Paris Opera. He served as director of the Nancy Conservatory from 1919 until his death in 1944. He was elected to the Académie des Beaux-Arts in 1929.[1] Bachelet died in Nancy on 10 February 1944.

Eva dell’Acqua

Eva Dell'Acqua was born in 1856 in Schaarbeek, Brussels, Belgium, the daughter of the Italian painter Cesare Dell'Acqua and his wife Carolina van der Elst. She composed in the Romantic style and produced orchestral works, pieces for chamber orchestra, and other works for piano and solo voice, opera and stage. Dell'Acqua's song "Villanelle" for coloratura soprano has been widely performed and recorded, and has appeared on film soundtracks including Get Hep to Love (1942) and I Married an Angel (1942). Dell'Acqua died 12 February 1930 in Ixelles, Brussels, Belgium.

Ambroise Thomas

Charles Louis Ambroise Thomas 5 August 1811 – 12 February 1896) was a French composer and teacher, best known for his operas Mignon (1866) and Hamlet (1868). Born into a musical family, Thomas was a student at the Conservatoire de Paris, winning France's top music prize, the Prix de Rome. He pursued a career as a composer of operas, completing his first opera, La double échelle, in 1837. He wrote twenty further operas over the next decades, mostly comic, but he also treated more serious subjects, finding considerable success with audiences in France and abroad.

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