Vincerò! Piotr Beczala - ORQUESTRA DE LA COMUNITAT VALENCIANA MARCO BOEMI - Idagio
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Vincerò! Piotr Beczala ORQUESTRA DE LA COMUNITAT VALENCIANA MARCO BOEMI
VINCERÒ! Ruggero Leoncavallo (1857-1919): Pagliacci (1892)
13 Recitar … Vesti la giubba 3. 29
Giacomo Puccini (1858-1924): Tosca (1900)
1 Recondita armonia 2. 47 Giacomo Puccini: La Fanciulla del West (1910)
2 E lucevan le stelle 4. 15 14 Ch’ella mi creda libero e lontano 1. 49
Francesco Cilea (1866-1950): Adriana Lecouvreur (1902) Giacomo Puccini: Edgar (1888)
3 La dolcissima effigie 2. 03 15 Orgia, chimera dall’occhio vitreo 4. 54
4 L’anima ho stanca 1. 54
5 Il russo Mèncikoff ** 1. 55 Giacomo Puccini: Gianni Schicchi (1918)
16 Avete torto … Firenzo è come un albero fiorito 3. 11
Pietro Mascagni (1863-1945): Cavalleria rusticana (1890)
6 Intanto amici … Viva il vino spumeggiante * & ** 3. 01 Giacomo Puccini: Madama Butterfly (1904/1907)
7 Mamma, quel vino è generoso (Addio alla madre) * 3. 43 17 Addio fiorito asil 1. 59
Giacomo Puccini: Manon Lescaut (1893) Giacomo Puccini: Turandot (1926)
8 Donna non vidi mai 2. 24 18 Nessun dorma ** 3. 22
9 Tra voi, belle ** 1. 30
Total playing time: 52.56
Umberto Giordano (1867-1948): Andrea Chénier (1896) Piotr Beczala, tenor
10 Come un bel dì di maggio 2. 50
11 Un dì all’azzuro spazio (Improvviso) 5. 00 * Evgeniya Khomutova, mezzo-soprano (Centre de Perfeccionament Plácido Domingo)
** Cor de la Generalitat Valenciana
Umberto Giordano: Fedora (1898)
12 Amor ti vieta 1. 41 Orquestra de la Comunitat Valenciana
Conducted by Marco Boemi
My new exciting project for 2020 is my recording of Verismo arias,
‘Vincerò!’, for my partners and friends at the ‘Label of the Year’
PENTATONE. With their trust and support, and together with Maestro
Marco Boemi and the Orquestra de la Comunitat Valenciana, I am
embarking on a new journey by discovering some of the greatest
tenor characters in opera — such as Turiddu, Canio, Andrea Chénier,
and of course Calaf. Thanks to my experience from singing the more
lyrical roles, I am able to take on the challenge with my own style and
expression, putting it all into practice and venture a step
further, presenting the enormous expressiveness and variety of
colours of Verismo.
In the coming years, works by Giacomo Puccini, Umberto Giordano
and Pietro Mascagni will continue to complement my repertoire and I
look forward to singing this great music on stage soon!
— Piotr Beczala
Name Artist
© Credit 5
Vocal portrait of a golden age The term Verismo is often, but unjustly, Le Villi, Puccini composed his first full- eventually clears when he thinks of the
used to categorize all Italian turn-of-the- evening entertainment with Edgar (1888), chaste Fidelia.
The decades around 1900 mark an century opera, but the music presented on on a libretto by Ferdinando Fontana. The
important transition period in Italian this album demonstrates how much more medieval subject reveals Puccini’s German, Edgar did not bring Puccini the hoped-
opera composition. With Giuseppe Verdi diverse and interesting that period was. and particularly Wagnerian, inclination. for consolidation of his reputation, and
nearing his retirement, there were neither Moreover, this is also the period when the Edgar, like Wagner’s Tannhäuser, is torn soon afterwards, his younger colleague
immediate successors, nor a clear sense of tenor, more than ever before, took centre between his love for an immaculate woman and former roommate Pietro Mascagni
direction from a stylistic point of view. For stage. Many of the most popular tenor and his attraction to a sensuous femme (1863-1945) became an overnight star
the first time in history there was a strong arias were composed in the years around fatale, whose gipsy identity seems inspired with Cavalleria rusticana (1890). This work
interest in German symphonic music and 1900, and the selection of arias by Giacomo by Bizet’s Carmen (1875). And just as introduced Verismo to the opera world.
particularly in the music dramas of Wagner, Puccini and his contemporaries presented Wagner in the case of Tannhäuser, Puccini The opera presents a tragic, violent love
but conservative forces feared that the on this album reflects that bloom. kept changing the work, without ever story set in a rural Sicilian community
German muse might alienate Italian finding an ideal shape. Despite Puccini’s with powerful, directly appealing music.
composers from their roots. During those Giacomo Puccini (1858-1924) gradually doubts about Edgar, some arias already ‘Viva il vino spumeggiante’ and ‘Mamma,
years a new generation of composers — the evolved into the most important turn-of- reveal his exceptional gift for melody and quel vino è generoso’ are both part of the
so-called Giovane scuola — entered the the-century Italian opera composer. It took theatrical effect. Among them is ‘Orgia, opera’s finale. In the former, Turiddu drinks
scene, and gradually managed to blend quite some time, however, until Puccini chimera dall’occhio vitreo’, in which Edgar’s away his worries after his beloved Santuzza
several currents into a new, unmistakably surpassed his colleagues in popularity. His inner conflict is presented. Edgar hears has confronted him with his adultery. The
Italian operatic style. This style entails first opera Le Villi (1883) was generally seen the sounds of an orgy from a palace, and folk-like aria’s mood is sunny and the choir
a Wagnerian tendency towards the as a promising start, even if the old Verdi thinks about his fatal attraction to the joins in with Turiddu’s joy, but the dramatic
symphonic and through-composed; French was worried about the allegedly overly- seductress Tigrana. A broad, melancholic context casts its shadows over this party
refinement à la Massenet; incorporation symphonic (read: German) character of the melody is introduced in the clarinet and scene. Soon afterwards, his amorous rival
of musical exoticism and — last but not work, and Puccini’s publisher Giulio Ricordi then repeated by the orchestra, after which Alfio arrives and the two agree on a duel.
least — Verismo: the raw, emotionally- expressed his hope that Puccini would not Edgar’s outburst of despair is underscored In ‘Mamma, quel vino è generoso’, Turiddu
charged musical depiction of common folk. forget his Italian roots. After the one-act by dark and dissonant sounds. The sky sings a goodbye to his mother just before
6 7
the duel, asking her to take care of Santuzza and act as if nothing happened. Canio mai’ demonstrate how a casual meeting laments. Despite his sympathy for the
in case he doesn’t return. The wine now exclaims the word “ridi” (laugh!) with one with Manon transforms Des Grieux from a deprived, the Revolutionaries consider him
no longer brings joy, but melancholia and of the most famous tenor sobs; a cruel slightly cynical and free-floating Casanova an enemy and order his execution. Luckily,
vertigo. Tremolo strings express Turiddu’s counterpoint. into a sentimental lover. ‘Trai voi, belle’ his beloved Maddalena joins him, and they
anxiety. With an expansive melody, he asks offers a playful melody accompanied by tread triumphantly towards the guillotine at
his mother — who doesn’t understand what’s Manon Lescaut (1894) brought Puccini pizzicati, to which woodwinds and harp are the end of the opera.
going on — for a last kiss goodbye. He his first big operatic success, even if its added when Des Grieux feigns romantic
leaves, and Alfio stabs him to death. genesis was rather problematic, with no adoration. In the lyrical, voluptuously After Andrea Chénier, Giordano composed
less than seven librettists involved, none of orchestrated ‘Donna non vidi mai’ he turns Fedora (1898), based on a play by Victorien
In 1892, Ruggero Leoncavallo (1858-1919) whom was mentioned on the title page. out to be a romantic indeed. Sardou and written specifically for the
wrote Pagliacci, which would become the The opera was inspired by Massenet’s famous actress Sarah Bernhardt. Particular
standard companion piece of Mascagni’s opera Manon (1884) and — just as its Umberto Giordano’s (1867-1948) Andrea to Fedora is the Russian setting, which
Cavalleria. Both pieces depict tragic love French predecessor — was based on Abbé Chénier (1896) is also situated in eighteenth- Giordano would use once more in Siberia
stories of common folk, but the structure Prevost’s Histoire du chevalier des Grieux century France. Luigi Illica loosely based (1903). Fedora is a story about star-crossed
of Leoncavallo’s play-in-a-play is arguably et de Manon Lescaut (1731). Given the his libretto on the life of the French poet love, adultery, revenge and destiny. Enrico
more ingenious. It shows Canio, leader of a chevalier’s dramatic prominence, as well André Chénier, who was executed during Caruso sang the premiere and scored a huge
travelling troupe of clowns, who discovers as the several musical highlights for the the French Revolution. ‘Un dì all azurro success with the aria ‘Amor ti vieta’, in which
that his wife, who’s supposed to cheat on tenor, Puccini might as well have named spazio’ is an improvised poem that Chénier count Loris declares his love to Fedora, who
him in the theatre show, does the same in his opera after the male lead. The story reluctantly sings during a luxurious ball. It plots to have him punished for murdering
real life. Canio takes real revenge during shows how Manon is torn between her love starts idyllically, but when he laments the her fiancé. After a majestic orchestral
the performance. His aria ‘Vesti la giubba’, for Des Grieux and her desire for wealth conditions of the poor and the crimes of introduction with sweeping parallel chords, a
sung after he has found out about his wife’s and jewellery, which ultimately causes her church and nobility, everyone is shocked. short, passionately lyrical melody is sung.
secret love, contemplates the artist’s life and banishment to America and death from ‘Come un bel dì di maggio’ follows the same
the tragedy of human existence: whatever dehydration, albeit in the arms of her trajectory, from idyll to emotional outburst, When writing Tosca (1900), Puccini may
happens, we have to wear our masks, laugh, beloved. ‘Tra voi, belle’ and ‘Donna non vidi but now it’s his own fate that Chénier well have been inspired by Giordano’s two
8 9
successful operas (for this opera he worked beginning of the opera, shows the painter In Madama Butterfly (1904-1907), Puccini harmonies and orchestral colours, as well with Luigi Illica, who had also written the Mario Cavaradossi as an uncomplicated experimented with a Japanese ambience, as novel musical exoticisms. Amidst all that text for Andrea Chénier). Like Fedora, Tosca admirer of female beauty in all its forms. which he also sought to evoke in his music. complexity, the completely unchromatic was also based on a play by Sardou with Equally experimental was the limited share aria ‘Ch’ella mi creda libero et lontano’ Sarah Bernhardt creating the title role. Just as Tosca, Francesco Cilea’s (1866- and highly unsympathetic character that with unisono orchestral accompaniment Just as Andrea Chénier, Puccini’s opera 1950) Adriana Lecouvreur (1902) revolves Puccini reserved for the male tenor, the is a masterful example of what a gifted takes place during the French Revolution, around a diva, in this case of the spoken American lieutenant B.F. Pinkerton. The composer can do with limited means. In and shows how an artist with progressive theatre. The slightly fuzzy story is about 1904 premiere at La Scala turned into a its bare quality it resembles ‘E lucevan le views is executed, in this case by the ancien Adriana’s love for Maurizio and her amorous fiasco, and for later revivals Puccini and his stelle’, but this major-key aria is an act of régime. The dramatic context of the aria ‘E rivalry with the Princesse de Bouillon, who librettists inserted the aria ‘Addio fiorito resolution rather than desperation. The lucevan le stelle’, moreover, is exactly the eventually poisons her. Maurizio sings ‘La asil’ into the final act. Pinkerton sings the bandit Ramerrez sings it shortly before his same as that of ‘un bel dì di Maggio’: an dolcissima effigie’ when he sees Adriana aria upon his return to the flowery refuge execution, asking his prosecutors to tell his impatient guard urges the artist on death again after a long time. Cilea confines this where he once lived with his Japanese beloved Minnie that he’s free and far away, row to finish writing his ardent goodbye to poetic declaration of love to the tenor’s wife. He comes to claim their son, but asks rather than dead. In the opera, Minnie his beloved. The strings provide recollections middle register, where the voice is at its his new wife and the American consul to arrives as a deus ex machina and persuades of better days, after which reality kicks in most tender, and the melody remains do this dirty job, afraid as he is to face the community to spare Ramerrez and with a melancholic clarinet melody that overly lyrical despite its chromaticism. In his former love. Despite the cruelty of the give him a second chance. Outside the evokes the atmosphere of Edgar’s ‘Orgia’. the elegiac ‘L’anima ho stanca’, Maurizio situation, the added aria at least allows opera house, the aria became a popular Throughout the aria accompaniment is explains the Princesse he no longer loves Pinkerton to show remorse. song among Italian soldiers during the First sparse and the instruments join the vocal her. ‘Il russo Mèncikoff’ is Maurizio’s World War. melody, as if to increase the bare, desolate narration about a heroic war experience, With the “Spaghetti Western” La Fanciulla atmosphere. At various points the music with drumrolls and trumpets depicting the del West (1910), Puccini again chose a Puccini designed Gianni Schicchi as the subtly alludes to Wagner’s Tristan chord to battle. non-European subject with ample room final, comic part of Il Trittico (1918), a piece evoke the sense of tragic love and death. In for couleur locale. It resulted in one of his consisting of three one-act operas with comparison ‘Recondita armonia’, from the most modern scores, full of “Impressionist” contrasting character. The story of Gianni 10 11
Schicchi is based on a passage in Dante’s unless her suitor solves three riddles. If he Divina Commedia, in which a family hopes fails, he dies. Calaf is the first to solve all to inherit the fortune of a deceased uncle, three, and when she still refuses, he asks who turns out to have dedicated it to a her to answer one riddle instead: to tell him monastery. In order to marry Lauretta, what his name is before the break of dawn. Rinuccio needs to secure at least part of Turandot demands that all her subjects the inheritance. In ‘Avete torto … Firenze è stay awake and pry the secret out of the come un albero fiorito’ he proposes to let unknown prince. Special about the music of Lauretta’s father Gianni Schicchi fix it, as Turandot is Puccini’s use of techniques from he’s a master of legal tricks. In the aria he grand opera, as well as his chinoiseries. challenges his relatives’ view that this man In ‘Nessun Dorma’ Calaf expresses his from out of town is inferior, arguing that it’s conviction that he will overcome, and actually thanks to newcomers that Florence that Turandot will eventually love him. The blooms. Rinuccio starts slightly agitated orchestra paints the nocturnal atmosphere but lights up when describing the city’s with wave-like movements in the strings, splendour, with the orchestra playing a while the vocal melody gradually prepares premonition of Lauretta’s later aria ‘O mio the rise to a euphoric high b: one of the babbino caro’, one of opera’s most famous most feared, yet also most rewarding notes melodies. of the tenor repertoire. The same can be said of ‘Nessun Dorma’. Kasper van Kooten Puccini wrote it for Turandot (1926), his last, unfinished opera, eventually completed by Franco Alfano. Turandot is a fairy-tale about a Chinese princess refusing to marry, 12 13
Giacomo Puccini (1858-1924): Tosca (1900) Entrava ella, fragrante, Fragrant, she entered
1 mi cadea fra le braccia … and fell into my arms …
Recondita armonia Oh, dolci baci, o languide carezze, Oh, soft kisses, oh, sweet abandon,
mentr’io fremente as I, trembling,
Recondita armonia Oh hidden harmony le belle forme disciogliea dai veli! unloosed her veils and disclosed her beauty.
di bellezze diverse! È bruna Floria, of contrasting beauties! Floria Svanì per sempre il sogno mio d’amore … Oh, vanished forever is that dream of love,
l’ardente amante mia … is dark, my love and passion … L’ora è fuggita … fled is that hour …
E muoio disperato! and desperately I die.
E te, beltade ignota … And you, mysterious beauty … E non ho amato mai tanto la vita! And never before have I loved life so much!
cinta di chiome bionde, crowned with blond locks.
tu azzurro hai l’occhio, Your eyes are blue
Tosca ha l’occhio nero! and Tosca’s black! Francesco Cilea (1866-1950): Adriana Lecouvreur (1902)
3
L’arte nel suo mistero Dissimilar beauties are together blended La dolcissima effigie
le diverse bellezze insiem confonde; by the mystery of art:
ma nel ritrar costei yet as I paint her portrait, Tosca, La dolcissima effigie sorridente In you I see again
il mio solo pensiero, Tosca, sei tu! my sole thought is of you. in te rivedo della madre cara; the smiling image of my dear mother.
nel tuo cor della mia patria, dolce, preclara With you I breathe the sweet, clear air
2 l’aura ribevo, che m’aprì la mente … of my fatherland, where I was born …
E lucevan le stelle Bella tu sei, come la mia bandiera, You are beautiful as my banner,
delle pugne fiammante entro i vapor; flaming aloft in battle;
E lucevan le stelle And the stars shone tu sei gioconda, come la chimera you are joyous as the spectre
ed olezzava la terra, and the earth was perfumed. della Gloria, promessa al vincitor … of Glory promised to the victor.
stridea l’uscio dell’orto, The gate to the garden creaked Bella tu sei, tu sei gioconda … You are beautiful, you are joyous …
e un passo sfiorava la rena … and a footstep rustled the sand path … Sì! Amor mi fa poeta … Yes! Love makes me a poet.
14 154 Maurizio Maurizio
L’anima ho stanca I miei s’appiattano My men crouched
dietro ogni ostacolo … behind the walls …
L’anima ho stanca, e la mèta è lontana: My soul is weary, and I am far from my goal. tre giorni infuria la gaja musica: for three days the music of battle raged.
non aggiungete la rampogna Do not add vain reproach tre giorni zufola la morte, For three days Death
vana all’ansia che m’accora … to the anguish that afflicts me … e gongola … sang his song of triumph …
Assai vi debbo; ah! I owe you so much; Alfine i pifferi l’assalto intimano … Finally the fifes announced the attack …
Ma se amor cadrà, but if love dies … L’istante è tragico … Come resistere? A dramatic moment: how could we resist?
mèmore affetto in cor mi fiorirà! … grateful affection will blossom in my heart Non v’è da scegliere tra piombo e allor … How to choose between death or glory?
Coro Chorus
5 Sassonia avanti! Forward, Saxony!
Il russo Mèncikoff
Maurizio Maurizio
Maurizio Maurizio Le torce fumano: The torches blazed,
Il russo Mènchikoff riceve l’ordine The Russian Menchikoff, was ordered pronto è l’incendio … my palace was about to burn …
di côrmi in trappola nel mio palagio … to trap me in my palace …
Era un esercito contro un manipolo, It was an army against a handful, Coro Chorus
un contro quindici … fifteen to one … Trionfa o muor! Triumph or death!
Ma, come a Bèndera Carlo duodecimo, But like Charles XII at Benderey,
nemici o soci contar non so … I could count neither friends nor enemies … Maurizio Maurizio
… ma nel vestibolo io stesso rotolo … but I rolled barrels
Coro Chorus baril di polvere … of gunpowder into the hall …
Gloria a Maurizio, gloria al valor! Glory to Maurizio, and to his bravery! Stringo la miccia, e … I lit the fuse,
cento saltano cosacchi in aria … and a hundred Cossacks were blown up
16 17Gli altri s’arretrano, The rest retreated, Coro Chorus
gli amici accorrono … our allies arrived … Viva Hurrah!
e qui la storia posso ancor ridir … and I am here to tell the tale …
Turiddu Turiddu
Coro Chorus Ai vostri amori!? To your love!
Viva il coraggio! Viva l’ardir! Hail to his courage! Hail to his bravery!
Coro Chorus
Viva Hurrah!
Pietro Mascagni (1863-1945): Cavalleria rusticana (1890)
6 Lola Lola
Intanto amici … Viva il vino spumeggiante Alla fortuna vostra! To your fortune!
Turiddu Turiddu Turiddu Turiddu
Intanto amici, qua, Meanwhile, friends, Beviam! Drink!
Beviamone un bicchiere. Come, let’s drink together!
Coro Chorus
Viva il vino spumeggiante Praise the sparkling wine Rinnovasi la giostra! Another round!
Nel bicchiere scintillante, bubbling in the glass, Beviam! Beviam! Rinnovasi la giostra! Drink! Drink! Another round!
Come il riso dell’amante bringing happiness
Mite infonde il giubilo! Like a lover’s smile! Viva il vino spumeggiante Praise the sparkling wine
Viva il vino ch’è sincero Hurrah for friendly wine Nel bicchiere scintillante, bubbling in the glass,
Che ci allieta ogni pensiero, that livens every thought Come il riso dell’amante bringing happiness
E che affoga l’umor nero, and banishes melancholy Mite infonde il giubilo! like a lover’s smile!
Nell’ebbrezza tenera. in cheerful drinking! Viva il vino ch’è sincero Hurrah for friendly wine
Che ci allieta ogni pensiero, that livens every thought
18 19E che affoga l’umor nero, And banishes melancholy Lucia Lucia
Nell’ebbrezza tenera. In cheerful drinking! Perché parli così, figliuol mio? My son, what is this you’re saying?
Viva! Beviam! Hurrah! Drink! Turiddu Turiddu
Oh! nulla! Oh, nothing!
È il vino che mi ha suggerito! It is the wine within me speaking.
7 Per me pregate Iddio! Pray to Heaven for me!
Mamma, quel vino è generoso Un bacio, mamma … One kiss, mother …
Un altro bacio … addio! One more kiss … farewell!
Turiddu Turiddu
Mamma, quel vino è generoso, Mother, that wine is strong,
e certo oggi troppi bicchieri and in truth I’ve drunk Giacomo Puccini: Manon Lescaut (1893)
Ne ho tracannati … too much of it today … 8
Vado fuori all’aperto. I must go out into the fields. Donna non vidi mai
Ma prima voglio But give me first
Che mi benedite your blessing, Donna non vidi mai simile a questa! I’ve never seen a woman like her!
Come quel giorno as you did that day A dirle: io t’amo, To tell her: “I love you”
Che partii soldato. when I went off as a soldier … a nuova vita l’alma mia si desta awakenes new life in my soul
E poi … mamma … sentite … And then … mother … listen … « Manon Lescaut mi chiamo! » “My name is Manon Lescaut”
S’io … non tornassi … If I should not return … Come queste parole profumate How those fragrant words
Voi dovrete fare you must be a mother mi vagan nello spirto linger in my spirit
Da madre a Santa, to Santuzza, e ascose fibre vanno a carezzare. and caress hidden chords.
Ch’io le avea giurato whom I promised O sussurro gentil, deh! non cessare … o gentle murmur, may it never cease …
Di condurla all’altare. to lead to the altar. « Manon Lescaut mi chiamo! » “My name is Manon Lescaut”
Sussurro gentil, deh, non cessar! o gentle murmur, may it never cease!
20 219 Si spegne in firmamento dies out in the sky,
Tra voi, belle Col bacio io d’una rima I, with the kiss of a rhyme,
Carezza di poesia and the caress of poetry,
Tra voi, belle, brune e bionde. Among you, beautiful, brown and blonde Salgo l’estrema cima climb the highest peak
Si nsconde giovinetta vaga, vezzosa … is there a graceful young girl De l’esistenza mia of my existence.
Dal labbro rosa, me m’aspetta? with pink lips waiting for me?
Sei tu quella, bionda stella? Is it you, you blonde beauty? La sfera che cammina The wheel that turns
Dillo a me! Tell me! per ogni umana sorte for every human destiny
Ecco già mi avvicina has now brought me
Palesatemi il destino, e il divino Show me my fate, and the divine all’ora della morte to the hour of my death,
Viso ardente che m’innamori … shining face I will fall in love with, E forse pria che l’ultima and perhaps before the last
Ch’io vegga e … odori … which I might gaze upon … and adore mia strofe sia finita of my verses is finished,
Eternamente! forever! M’annuncerà il carnefice, the executioner will announce to me
la fine della vita the end of my life.
Sei tu quella, bruna stella? Are you the one, you slender brunette?
Dillo a me! Tell me! Sia! Strofe, ultima Dea So be it! Poetry, ultimate Goddess!
Ancor dona al tuo poeta grant your poet once more
La sfolgorante idea the brilliant idea,
Umberto Giordano (1867-1948): Andrea Chénier (1896) La fiamma consueta the usual flame;
10 Io, a te, mentre tu vivida a me While you pour forth from my heart,
Come un bel dì di maggio Sgorghi dal cuore full of life, I will give to you
Darò per rima il gelido as a rhyme the cold breath
Come un bel dì di maggio Like a beautiful day in May Spiro d’un uom che muore of a man about to die.
Che con bacio di vento that, kissed by the wind
E carezza di raggio and caressed by rays of sun
22 2311 e al sordo orecchio and to the deaf ear
Un dì all’azzuro spazio (Improvviso) un tremulo vegliardo a tremulous old man
invan chiedeva pane helplessly asked for bread
Colpito qui m’avete ov’io geloso celo Impressed here you have me jealously cloaked e invano stendea la mano! and in vain stretch out his hand!
il più puro palpitar dell’anima. the purest palpitation of the soul.
Or vedrete, fanciulla, qual poema Now you will see, maiden, what a poem Varcai degli abituri l’uscio; I went through the door to the houses;
è la parola “Amor”, qui causa di scherno! it is the word “Amor”, here cause of mockery! un uom vi calunniava a man calumniated you
bestemmiando il suolo cursing the ground
Un dì all’azzurro spazio One day when the sky was blue che l’erario a pena sazia that the treasury should be satisfied
guardai profondo, I looked profoundly e contro a Dio scagliava and against God he hurled
e ai prati colmi di viole, At meadows full of violets, e contro agli uomini and against men
pioveva loro il sole, the sun was raining them, le lagrime dei figli. the tears of the children.
e folgorava d’oro il mondo: and the world had a golden glow:
parea la terra un immane tesor, the earth was an immense treasure, In cotanta miseria In such misery
e a lei serviva di scrigno il firmamento. and the firmament served her as a casket. la patrizia prole che fa? What do the patricians do?
Su dalla terra a la mia fronte Up from the ground to my forehead (a Maddalena) (to Maddalena)
veniva una carezza viva, un bacio. a live caress came, a kiss. Sol l’occhio vostro Only your eye
Gridai vinto d’amor: I cried, won by love: esprime umanamente qui expresses humanity here
T’amo tu che mi baci, I love you, kiss me, un guardo di pietà, a look of pity,
divinamente bella, o patria mia! divinely beautiful, my homeland! ond’io guardato ho a voi I’ve looked at you
E volli pien d’amore pregar! And full of love, I wanted to pray! si come a un angelo. just like an angel.
Varcai d’una chiesa la soglia; I crossed the threshold of a church; E dissi: Ecco la bellezza della vita! And I said: Here is the beauty of life!
là un prete ne le nicchie there a priest in the niches Ma, poi, a le vostre parole, But then, after your words,
dei santi e della Vergine, of the saints and of the Virgin, un novello dolor m’ha colto in pieno petto. a new pain caught me in the chest.
accumulava doni - accumulated gifts - O giovinetta bella, Oh you pretty young girl,
24 25d’un poeta non disprezzate il detto: do not despise the saying of a poet: Tu sei Pagliaccio! You are a clown!
Udite! Non conoscete amor, Hear! You do not know love,
amor, divino dono, non lo schernir, love, divine gift, not mockery, Vesti la giubba e la faccia infarina. Put on your costume, and powder your face:
del mondo anima e vita è l’Amor! Love is the soul and lifeblood of this world! La gente paga e rider vuole qua. The people pay and want to laugh.
E se Arlecchin t’invola Colombina, And if Harlequin steals your Columbine,
Ridi Pagliaccio, e ognun applaudirà! laugh, Pagliaccio, and all will applaud you!
Umberto Giordano: Fedora (1898) Tramuta in lazzi lo spasmo ed il pianto; Change all your tears and anguish into
12 In una smorfia il singhiozzo e il dolore … clowning:
Amor ti vieta Ridi Pagliaccio, sul tuo amore infranto! and into a grimace your sobbing and your
Ridi del duol che t’avvelena il cor! pain …
Amor ti vieta di non amar. Love forbids you to not love. Laugh, clown, at your shattered love!
La man tua lieve, che mi respinge, Your soft hand which rejects me Laugh at the sorrow that poisons your heart!
cerca la stretta della mia man; seeks the tight grip of my hand.
la tua pupilla esprime: T’amo! “ Your pupil expresses “I love you”
se il labbro dice: “Non t’amerò!” even if your lip says “I won’t love you”.
Giacomo Puccini: La Fanciulla del West (1910)
14
Ruggero Leoncavallo (1857-1919): Pagliacci (1892) Ch’ella mi creda libero e lontano
13
Recitar … Vesti la giubba Ch’ella mi creda libero e lontano, Let her believe that I’m free and far away
sopra una nuova via di redenzione! … on a new path towards redemption! …
Recitar! Mentre preso dal delirio Perform the play! While I am racked with grief, Aspetterà ch’io torni … She will wait for me to come back …
Non so più quel che dico e quel che faccio! not knowing what I say or what I do! E passeranno i giorni, And the days will go by.
Eppur …è d’uopo … sforzati! And yet … I must … ah, force myself to do it! ed io non tornerò … and I will not come back …
Bah, se’ tu forse un uom! Bah! Are you a man?
26 27Minnie, della mia vita mio solo fiore, Minnie, the only flower of my life. Te il mio pensiero evoca sempre ancor! You still evoke my thoughts!
Minnie, che m’hai voluto tanto bene! … Minnie, you who loved me so much! … Sovra un sereno cielo si disegna il profil The sweet profile of that angel who loved
Ah, tu della mia vita mio solo fior! Ah, you, my only blossom in my life! dolcissimo dell’angiol che mi amò! me is outlined in the serene sky!
Giacomo Puccini: Edgar (1888) Giacomo Puccini: Gianni Schicchi (1918)
15 16
Orgia, chimera dall’occhio vitreo Avete torto … Firenzo è come un albero fiorito
Orgia, chimera dall’occhio vitreo The orgy is a glossy illusion Avete torto. You’re mistaken.
dal soffio ardente che i sensi incendia, of burning breath that ignites the senses. È fine, astuto. He’s crafty, astute.
tu a me, dell’alta notte nel glauco In vain, you return to me in the middle of Ogni malizia di leggi e codici He knows everything about the traps
mister silente, invan ritorni. the night in silent greenish mystery. conosce e sa. in the law and the codex.
Motteggiatore! Beffeggiatore! A wag! A Joker!
Non più dai tuoi sguardi ammaliato My heart will no longer be bewitched C’è da fare una beffa nuova e rara? A new, rare practical joke going round?
sarà il mio cor! By your glances! È Gianni Schicchi che la prepara. it’s Gianni Schicchi who set it up.
Ne più m’avvince a te la voluttà. I am no longer bound by lust. Gli occhi furbi gli illuminan di riso Shrewd eyes light up
Ma ho terror del doman; But I have fear of tomorrow; lo strano viso, his funny face with laughter,
un vigliacco terror che l’onor mio there is a cowardly terror that my honour is ombreggiato da quel suo gran nasone and his huge nose throws a shadow
combattere non sa! unable to fight! che pare un torrachione per così. Just like an old ruined tower.
Vien dal contado? Ebbene, che vuol dire? He’s from the country? Well, so what?
O soave vision di quell’alba d’april, Oh gentle vision of April’s dawn, Basta con queste ubbie grette e piccine! Enough of this small-minded prejudice!
o vision gentil d’amore e di splendor! oh gentle vision of splendour and love!
Nell’abisso fatal, dove caduto io son, I can see the vision I yearn for from the fatal Firenze è come un albero fiorito, Florence is like a tree in flower,
rimpianta vision, Ah! abyss into which I have fallen! che in piazza dei Signori ha tronco e fronde, with its trunk and branches in the piazza
28 29ma le radici forze nuove apportano dei Signori, Giacomo Puccini: Madama Butterfly (1904/1907)
dalle convalli limpide e feconde. but its roots bring new strength in 17
E Firenze germoglia ed alle stelle from the fresh fruitful valleys. Addio fiorito asil
salgon palagi saldi e torri snelle! Florence grows and solid palaces
and slim towers rise up to the stars! Addio, fiorito asil Farewell, flowery home,
di letizia e d’amor … full of happiness and love …
L’Arno, prima di correre alla foce, Before the Arno runs to the sea, Sempre il mite suo sembiante Haunted forever I shall be
canta baciando piazza Santa Croce, singing, it kisses the piazza Santa Croce, con strazio atroce vedrò. by her reproachful eyes.
e il suo canto è sì dolce e sì sonoro and its song is so sweet and resonant
che a lui son scesi i ruscelletti in coro. that the streams join in. Addio, fiorito asil … Farewell, flowery home …
Così scendonvi dotti in arti e scienze In this way artists and scientists have helped Non reggo al tuo squallor … I cannot face the mess I’ve made …
a far più ricca e splendida Firenze. to make Florence richer and more splendid. Fuggo, fuggo …son vil! I’m a coward, I have to flee!
E di Val d’Elsa giù dalle castella And from the castles of Val d’Elsa
ben venga Arnolfo a far la torre bella. Arnolfo has come down to build his beautiful
E venga Giotto dal Mugel selvoso, tower. And Giotto came from leafy Mugel, Giacomo Puccini: Turandot (1926)
e il Medici mercante coraggioso. and Medici, the valiant merchant. 18
Basta con gli odi gretti e coi ripicchi! Enough of narrow-minded malice and spite! Nessun Dorma
Viva la gente nova e Gianni Schicchi! Long live the newcomers and Gianni
Schicchi! Il principe ignoto (Calaf) The unknown prince (Calaf)
Nessun dorma! No one may sleep!
Nessun dorma … No one may sleep …
Tu pure, o Principessa, You, too, o Princess,
nella tua fredda stanza in your cold room
guardi le stelle che tremano look at the stars, that tremble
d’amore e di speranza! with love and with hope!
30 31Ma il mio mistero è chiuso in me, But my mystery is shut within me; Also available
il nome mio nessun saprà! no one will know my name! on PENTATONE
No, no, sulla tua bocca lo dirò No, I will say it to your mouth
quando la luce splenderà! when the daylight shines!
Ed il mio bacio scioglierà il silenzio And my kiss will break the silence
che ti fa mia! that makes you mine!
Voci di donne Women’s voices
Il nome suo nessun saprà … No one will know his name …
E noi dovrem, ahimè, morir! And, alas, we must die!
Il principe ignoto (Calaf) The unknown prince (Calaf)
Dilegua, o notte! … Vanish, o night!
PTC 5186 750 PTC 5186 772
tramontate, stelle! Set, you stars!
All’alba vincerò! At dawn I will overcome!
Vincerò! Vincerò! I will overcome! I will overcome!
PTC 5186 788 PTC 5186 719
32Acknowledgments Publisher credits
PRODUCTION TEAM © Casa Ricordi, Milan / Albersen Verhuur B.V., The Hague:
Executive producer Renaud Loranger - G. Puccini - Edgar
A&R Manager Kate Rockett - G. Puccini - Gianni Schicchi
Recording producer Everett Porter (Polyhymnia International B.V.) - G. Puccini - La Fanciulla del West
Recording engineer Lauran Jurrius (Polyhymnia International B.V.) - G. Puccini - Madama Butterfly
Language coach Matelda Cappelletti - G. Puccini - Tosca (critical edition © Roger Parker for ‘Recondita Armonia’)
- G. Puccini - Turandot
Liner notes Kasper van Kooten - G. Puccini - Manon Lescaut
Cover photography and portraits of Piotr Beczala Julia Wesely
Design Marjolein Coenrady © Casa Musicale Sonzogno di Piero Ostali, Milan / Albersen Verhuur B.V., The Hague:
Product Management Kasper van Kooten - F. Cilea - Adriana Lecouvreur
- U. Giordano - Andrea Chénier
This album was recorded at the Palau de les Arts Reina Sofía, Valencia, Spain, - U. Giordano - Fedora
in October 2019. - R. Leoncavallo - Pagliacci
- P. Mascagni - Cavalleria rusticana
PENTATONE TEAM
Vice President A&R Renaud Loranger | Managing Director Simon M. Eder
A&R Manager Kate Rockett | Product Manager Kasper van Kooten
Head of Marketing, PR & Sales Silvia PietrosantiSit back and enjoy
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