ROSSINI'S WILLIAM TELL - Teatro Regio Torino Orchestra and Chorus Gianandrea Noseda - University Musical Society
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UMS PRESENTS
ROSSINI’S
WILLIAM TELL
Teatro Regio Torino
Orchestra and Chorus
Gianandrea Noseda
Conductor
Claudio Fenoglio
Chorus Master
Tuesday Evening, December 9, 2014 at 7:30
Hill Auditorium • Ann Arbor
23rd Performance of the 136th Annual Season
136th Annual Choral Union Series
Illustration: From Friends to Know ©Blue Lantern Studio/Corbis.
23PROGRAM
Gioachino Rossini
William Tell
Opera in four acts to a libretto by Étienne de Jouy and Hippolite Bis after the
eponymous play by Friedrich Schiller and Jean-Pierre Claris de Florian’s story
La Suisse libre. Performance duration of this evening's production, including
intermissions, is approximately 3 hours and 45 minutes.
Act I
I N T E R M I SSI O N
Act II
I N T E R M I SSI O N
Act III
Act IV
Translation by Calisto Bassi reviewed by Paolo Cattelan and based on the
critical edition by M. Elizabeth C. Bartlet, Fondazione Rossini Pesaro/Ricordi.
Endowed support from the Susan B. Ullrich Endowment Fund.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
ROSSINI’S WILLIAM TELL
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
lobby floral art for this evening’s concert.
Special thanks to the Packard Humanities Institute for providing supertitles funding for the North
American tour.
Teatro Regio Torino is grateful for the generous support of its Rossini Tour Main Partners Barilla, Eataly,
Eni, Lavazza, and Tour Sponsor, Maserati. Special thanks to The Opera Foundation.
24BE PRESENT
CAST
Concert performance
Luca Salsi (Baritone) Gabriele Sagona (Bass)
Guglielmo Tell, a Swiss conjured Gessler, the Governor of the cantons of
Schwitz and Uri
John Osborn (Tenor)
Arnoldo Melcthal, a Swiss conjured Mikeldi Atxalandabaso (Tenor)
Ruodi, a fisherman
Angela Meade (Soprano)
Matilde, a Habsburg princess, appointed Saverio Fiore (Tenor)
to Swiss govern Rodolfo, Captain of Gessler’s guard
Marco Spotti (Bass) Paolo Maria Orecchia (Baritone)
Gualtiero Farst, a Swiss conjured Leutoldo, a shepherd
Fabrizio Beggi (Bass) Three brides and bridegrooms, Swiss
Melcthal, Arnoldo’s father peasants, knights, pages, ladies
attending Matilde, hunters, Gessler’s
Marina Bucciarelli (Soprano) guards, soldiers, Tyrolian men and
Jemmy, Guglielmo Tell’s son women, performed by members of
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the Chorus
Anna Maria Chiuri (Mezzo-Soprano)
Edwige, Guglielmo Tell’s wife
N O W T H AT Y O U ’ R E I N Y O U R S E AT…
Of the opera William Tell, many people know only the last portion of the overture, the
melody popularized by the classic radio and TV series Lone Ranger. Remembering this
one tune, irresistible as it certainly is, does no justice even to the overture, which has
many other wonderful moments besides this theme; and even less to the grandiose
four-act opera that follows. Rarely performed these days, in part because it is hard
to find singers who can meet its formidable vocal demands, Rossini’s final opera is a
masterpiece of the first order, an uplifting paean to freedom and heroism, as well as a
true musical feast.
25UMS
Guglielmo Tell (1829/1831) earlier. True or not, the story of this
Gioachino Rossini fearless archer who shot an apple off
Born February 29, 1792 in Pesaro, Papal States his son’s head is known not only in Tell’s
Died November 13, 1868 in Passy, nr. Paris native Switzerland but well beyond. Tell’s
courageous act was said to have sparked
UMS premiere: This complete opera has the revolt of the three original Swiss
never been performed on a UMS stage. cantons (Uri, Schwyz, and Unterwalden)
against the Austrian oppressors, and
S N A P S H O T S O F H I S T O R Y… I N 1 8 3 1 : to have led to the creation of the Swiss
• Revolts in Modena, Parma, and the Papal States are Confederacy.
put down by Austrian troops
• The Bosnian uprising against the Ottoman Empire Among the many literary adaptations
begins of the story, the play by Friedrich Schiller
• Nat Turner’s slave rebellion breaks out in Virginia (1759–1805) is one of the great classics of
• Charles Darwin embarks on his historic voyage
aboard HMS Beagle German literature. It became, in turn, the
• Founding of New York University in New York City basis for the French libretto by Etienne de
Jouy that Rossini set to music (in a revised
Rossini and his wife, the great Spanish- form) to create Guillaume Tell. The opera,
born singer Isabella Colbran, moved premiered in Paris on August 3, 1829, was
to Paris in 1824. The Barber of Seville, later translated from French into Italian,
Tancredi, and many other operas were and after its first Italian performance in
already all the rage at the Théâtre- 1831, became known as Guglielmo Tell.
Italien; now the Paris Opéra decided to Since then the work has been performed,
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turn Rossini into a French composer and and recorded, in both languages.
plans were soon underway not only for a In a way, Guillaume Tell could
commission but for a life annuity from the almost be called two operas in one. The
French government. During the next few political thread includes the uprising of
years, Rossini made French versions of the Swiss cantons, the parts of Melcthal
two of his Italian operas and adapted the and Gualtiero (Walter Fürst), the solemn
music of another Italian opera to a French oath that forms the magnificent finale of
piece with a new plot, before embarking Act II, the apple scene, and the glorious
on a work that was conceived in French conclusion. Yet there is a second thread,
from the start: Guillaume Tell. the love across the political divide
Tell was unprecedented not only in between Arnoldo, the son of Melcthal,
Rossini’s output; it was also new in the and Mathilde, a Habsburg princess. As
context of French opera, and served as a the primo uomo and prima donna, it is
model for what became known as “grand Arnoldo and Mathilde who have the most
opera.” The main characteristics of this demanding music; these young lovers are
genre — historical subject, vast tableaux the only ones to sing long and virtuosic
involving many extras, numerous choral solo numbers — although Tell’s moving
ROSSINI’S WILLIAM TELL
scenes and, above all, an elaborate ballet “Resta immobile,” with its memorable
— are all present in this four-act work cello solo, is arguably the emotional high
which, if performed without cuts, runs point of the opera.
almost four hours in performance. Even so, it is likely that Arnoldo’s
The legend of William Tell first many high ‘C’s’ will steal the show. In
appears in a late 15th-century chronicle, fact, the great tenor aria in Act IV had a
but the events described there supposedly major impact on the history of operatic
took place about a century-and-a-half singing in general. It may have been
26the first time that there was such a
fundamental difference between the
way two singers approached the same
part. Contemporaries commented on
the striking contrast between Adolphe
Nourrit, who sang Arnoldo at the world
premiere, and Gilbert Duprez, who took
over the role in 1837. Duprez’s more
powerful, darker interpretation — he
was said to have been the first to take
full chest voice to the highest register —
influenced a whole new style of singing.
To this day, one can distinguish between
the two approaches in performance —
one lighter, the other more heroic — to
one of the most challenging tenor parts
ever written.
Both the political plot and the love
story in Guillaume Tell unfold against the
backdrop of the breathtakingly beautiful
Swiss mountains. Rossini had not visited
Switzerland (neither, for that matter,
had Schiller), but the stage designer
Pierre-Luc-Charles Cicéri insisted on
taking a trip to Altdorf to study the
locale. As a result, the entire production
had to be postponed (further delays were
caused by the pregnancy of the prima
donna, Laure Cinti-Damoreau). Traces of
local color appear at several points in the
score, including the use, in the overture,
of the ranz des vaches, a traditional
melody played by Swiss shepherds on
the Alphorn. (The ranz des vaches was
also used by Berlioz in his Symphonie
fantastique, written one year after Tell.)
The a cappella chorus in Act III seems
to allude to traditional music from the
Alps as well; it is very unusual in classical
opera to dispense with orchestral
accompaniment entirely.
Rossini united all these elements
— the public and the personal spheres
as well as the local color — in the
extraordinary closing scene of the opera
(an arrangement of which, for many
years, was heard at the beginning andUMS
end of transmission on Italian television). and a collection of songs and piano
At this moment, Tell is out of danger, the pieces published under the title Péchés
Swiss have liberated their country from de vieillesse (Sins of Old Age) are ample
the oppressors, and Mathilde, who has proof that his creative juices hadn’t
embraced the cause of the insurgents, stopped flowing. Yet despite several
is united with her beloved Arnold. Over invitations, he never returned to the
the gentle chords of the harp, everyone theater. Exhaustion, poor health, and
rejoices in the beauties of nature and a lack of financial motivation (Rossini
praises their newly-won freedom in a was, by this time, a very wealthy man)
majestic crescendo, ending the opera in a have all been cited as reasons for this
glorious and resplendent C Major. early retirement. Yet whatever the
Guillaume Tell, which opened the reason or reasons, Rossini couldn’t
chapter of French grand opéra, also have ended his operatic career more
turned out to be the last stage work gloriously: whether we call it Guillaume
Rossini ever wrote. In fact, although or Guglielmo, Tell unquestionably stands
he lived for another 38 years, Rossini as one of this great composer’s greatest
never composed another opera. He did accomplishments.
not abandon composition altogether; his
Stabat Mater, Petite messe solennelle, Program note by Peter Laki.
SYNOPSIS
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Act I her by status and political differences. A
Bürglen, Canton of Uri. The country folk fanfare announces the arrival of Gessler.
are celebrating the imminent weddings of Arnold wants to reach his train, in the
three couples. While the fisherman Ruodi hope of seeing Matilde, but he runs into
sings a love song, William Tell, standing William, who urges him to carry out his
aside, ponders on the fate of his people, duty; torn between his love for Matilde
oppressed by the domination of Austria. and his patriotism, Arnold finally declares
When the wise old Melcthal arrives, himself ready to join the conspirators.
accompanied by his son Arnold, Hedwige, Hedwige again invites Melcthal to bless
the wife of William, asks him to bless the the three couples. Everyone wishes the
couples. They all sing together a song of joy. newlyweds a life of serenity.
William invites Melcthal into his Horns in the distance signal the
house, mentioning his happiness as a arrival of Gessler; Arnold leaves, followed
father. Melcthal accepts the invitation, by William. The wedding celebrations are
and pointing to William as a model, enlivened by song and an archery contest.
reproaches Arnold, who hasn’t yet Many participate unsuccessfully, but
ROSSINI’S WILLIAM TELL
started a family. Left alone, Arnold gives Jemmy, William’s son, hits the target on
vent to his desperation: he is ashamed his first try. Everyone hails the winner,
of having once fought among the ranks emphasizing that, due to his ability and
of the present oppressors and he is bravery, he is the worthy heir to William.
hopelessly in love with Matilde, an However, it is the same Jemmy who calls
Austrian princess whose life he saved in attention to a man down at heel who is
an avalanche, now a guest of the Austrian approaching: it is the shepherd Leuthold,
governor Gessler; he is separated from running away because, in order to
28BE PRESENT
defend his daughter, he has killed one of William and Walter incite him to action:
Gessler’s soldiers. Ruodi refuses to ferry his father would have wanted vengeance,
him to the other shore, with the excuse not tears, from him. Suddenly, noises are
that the current is too strong. William, heard coming from the forest: one by
having just returned, offers his help. As one, the rebels of Unterwald, Schwitz and
soon as they set off in the boat, the guards Uri arrive. The men of the three cantons
arrive. Rudolph, their captain, demands solemnly swear to fight, and if necessary
to know the name of the boatman, die, for the freedom of their homeland.
whose punishment is to be death.
Melcthal entreats everyone to share the Act III
responsibility and not answer: for this In the ruins of a chapel near the palace
reason he is arrested by the guards. The of Altdorf. Arnold tells Matilde that he
unarmed villagers, who can do nothing to doesn’t want to fight any longer for the
help him, dream of the day when they will Austrians and intends to vindicate his
rise in rebellion. father, even if this means renouncing
her; he then tells her that Gessler is
Act II responsible for his father’s death. The
On the highlands of Rütli, as evening thought of having to relinquish Arnold
approaches. A group of hunters return drives Matilde to despair. The sound
from a hunt; a bell reminds them that of the horn, once again, announces the
it is time to go home. Once again the arrival of Gessler: Matilde begs Arnold to
sound of a horn in the distance signals find refuge.
FA L L 2 0 1 4
the oppressive presence of the governor. In the main square of Altdorf. During
Matilde, in anguish, seeks comfort in the the course of a celebration soldiers
calm solitude of the forest. She knows cheer Gessler. The population is obliged
that Arnold wants to meet her. From the to pay its respects to the governor’s hat,
moment he saved her she hasn’t been able placed on top of a pole. Gessler orders
to forget him, and wants to confess her that the hundredth anniversary of
love. Arnold arrives. The two of them can Austrian domination in Switzerland be
finally express the feelings they have kept celebrated with singing and dancing. The
hidden until now: they confess to being soldiers force the women to dance, while
attracted to each other, but recognize that the behavior of the men reveals their
many obstacles will have to be overcome indignation. A few of the soldiers, catching
before their love is realized. Matilde urges sight in the crowd of William and Jemmy
him to take up arms again and cover who refuse to make obeisance, drag them
himself with glory on the battlefield. before the governor. Rudolph recognizes
When William and Walter Farst arrive, in William the man who helped Leuthold
Matilde leaves. William, recognizing her, to escape, and Gessler has him arrested.
accuses Arnold of conspiring with the William tells Jemmy to go to his
oppressors. When Arnold protests that his mother so that, when she lights a flame,
meeting with her was dictated by other it will signal the revolt, but the guards
motives, the two men reproach him for prevent him from escaping. Gessler
his love for the daughter of an enemy and contrives a cruel punishment: William
accuse him of being unpatriotic. will have to shoot an apple from his son’s
In the discussion that follows, Walter head, and if he refuses, they will both be
reveals to Arnold that Gessler has had killed. Encouraged by Jemmy, who urges
his father killed. Arnold despairs, but him to go through with the trial, William
29UMS
takes aim and infallibly hits the target. no longer in Altdorf because Gessler is
William faints from emotion, letting a taking him away on his boat. Hedwige,
second arrow fall. Questioned by Gessler, observing that a storm is raging, fears
he confesses that he would have shot him that William is dead, but Leuthold brings
with it had he not hit the mark. Gessler the news that William has taken the
orders father and son to be executed, but helm and is leading them to safety.
Matilde, having arrived in the meantime, Arriving near the shore, William
commands that he entrust her with leaps onto the rocks, pushing the boat
Jemmy. When William is dragged away, adrift into the waves; he can finally
the soldiers hail the governor, and the embrace his wife and his son. Jemmy
people curse him. hands William his bow and arrow,
saved from the house that was set on
Act IV fire to signal the rebels that the revolt
A square in front of Melcthal’s was beginning. Gessler and his soldiers,
house. Arnold, embittered, dreams of meanwhile, have reached the shore
vindicating his father and freeing and intend to capture him, but William
William. When the country folk appear, shoots Gessler with an arrow, singing the
determined to stage a revolt, he shows praises of liberty. Arnold arrives leading
them where the arms are hidden and the rebels. The enemy’s stronghold has
exhorts them to storm the governor’s fallen. The people cheer while the storm
residence. abates, the clouds disperse and the sun
On the shores of the Lake of the shines again over Switzerland, finally
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Four Cantons. Matilde takes Jemmy freed from the oppressor.
back to his mother. Hedwige begs her to
convince the governor to spare William’s Translation by Cheryl Mengle, ©Teatro
life. Jemmy tells them that his father is Regio Torino.
ARTISTS
G
I A N A N D R E A N O S E D A is Regio Torino onto the global stage
recognized as one of the leading where it has become one of Italy’s
conductors of his generation. His most important cultural exports.
appointment as music director of the Maestro Noseda is principal guest
Teatro Regio Torino in 2007 ushered in conductor of the Israel Philharmonic
a transformative era for the company, Orchestra, the Victor De Sabata guest
met with international acclaim for conductor of the Pittsburgh Symphony
productions, tours, recording, and film Orchestra, conductor laureate of the BBC
projects. Under his leadership, the Teatro Philharmonic Orchestra, and artistic
Regio Torino has launched its first tours director of the Stresa Festival (Italy). In
ROSSINI’S WILLIAM TELL
Gianandrea Noseda, ©Sussie Ahlburg
outside of Torino with performances in 1997 he was appointed the first foreign
Austria, China, France, Germany, Japan, principalguestconductoroftheMariinsky
Russia, the UK, Theatre, a position he held for a decade.
and, with this tour, Maestro Noseda is known to
Canada and the US. New York audiences for his regular
Maestro Noseda’s appearances at the Metropolitan Opera
initiatives have since 2002 and numerous performances
propelled the Teatro at Lincoln Center. He has close
30BE PRESENT
relationships with many of the leading 13 season he made his company debut
orchestras and opera houses, including with Liceu de Barcelona as Don Carlo in
the London Symphony Orchestra, NHK La forza del destino, followed by other
Symphony, Philadelphia Orchestra, and important Verdi role debuts: Macbeth,
Teatro alla Scala. Highlights of the current Conte di Luna (Il trovatore), Francesco
season include his Berlin Philharmonic Foscari (I due Foscari), and Nabucco. He
and Salzburg Festival debuts. This season opened last season with the Chicago
also marks his Carnegie Hall debut. Symphony Orchestra in Macbeth under
A native of Milan, Maestro Noseda the baton of Riccardo Muti. His recent
is Cavaliere Ufficiale al Merito della and future plans inclue Ernani (Don
Repubblica Italiana. Carlo), Adriana Lecouvreur (Michonnet)
in Bilbao, Luisa Miller (Miller) at Opéra de
Lausanne, Nabucco in tournée in Japan
CLAUDIO FENOGLIO (chorus master) with Rome’s Opera Theater, Nabucco and
was born in 1976 and studied choral music, Macbeth at Liceu de Barcelona, Falstaff
conducting, and composition, as well as in Sao Paulo, Un ballo in maschera, Aida,
piano, with Laura Richaud, Franco Scala, and Nabucco at Arena in Verona, La
Giorgio Colombo Taccani, and Gilberto forza del destino in Parma, Un ballo in
Bosco. During his studies he began to work maschera in Bologna, I Puritani in Turin,
in opera as an assistant conductor before La Traviata in Paris and Turin, Rigoletto
specializing in choral conducting. He was in Madrid, Nabucco in Berlin, and Ernani
Assistant Chorus Master at the Teatro in Salzburg.
Massimo in Palermo for two years before
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becoming the Assistant Chorus Master JOHN OSBORN (Arnoldo) is a winner
to Claudio Marino Moretti and Roberto of the Metropolitan Opera National
Gabbiani at the Teatro Regio Torino in Counsel Auditions, Opera Index Awards,
2002. As Associate Chorus Master since First Place in the Operalia Placido
2007, he alternated with the principal Domingo Competition, and is a graduate
chorus master on several productions and of the Metropolitan Opera Young
collaborated with the Coro Filarmonico of Artists Development Program. Osborn
Teatro Regio Torino. In November 2010 is a recent winner of the Aureliano
he became Chorus Master of the Teatro Pertile Award in Asti, and recipient of
Regio Torino. He is also Chorus Master of a Goffredo Petrassi Award. Prestigious
the Children’s Chorus of the Teatro Regio batons include Antonio Pappano,
and of the Giuseppe Verdi Conservatory Richard Bonynge, Marc Minkowski,
in Turin. Roberto Abbado, and Zubin Mehta. He has
frequented some of the most important
LUCA SALSI (Guglielmo Tell) made his opera houses including The Metropolitan
operatic debut at the Teatro Comunale Opera, Wiener Staatsoper, Lyric Opera
di Bologna in Rossini’s La scala di seta. of Chicago, Maggio Musicale Fiorentino,
His repertoire includes such roles as Opéra National de Paris, San Francisco
Sharpless in Madama Butterfly, Marcello Opera, Opernhaus Zürich, La Monnaie in
in La bohème, Ford in Falstaff, Figaro in Brussels, San Carlo in Naples, Salzburger
Il barbiere di Siviglia, Valentin in Faust, Festspiele, Teatro alla Scala in Milan,
the title role in Gianni Schicchi, Germont Accademia di Santa Cecilia in Rome,
in La traviata, Ezio in Attila, and Frank in Royal Opera House in London, Teatro
Edgar (Torre del Lago). During the 2012– Colón in Buenos Aires, and the Verona
31UMS
Arena. His wide repertoire includes Minnesota, Philadelphia, Pittsburgh, and
Guillaume Tell, La Donna del Lago, Otello Seattle symphony orchestras, with such
and Armida by Rossini; Norma, I Puritani conductors as Roberto Abbado, Marin
and La Sonnambula by Bellini; Les Vêpres Alsop, Charles Dutoit, Manfred Honeck,
siciliennes, Rigoletto, La Traviata, and Yannick Nézet-Séguin, and Osmo Vänskä.
Falstaff by Verdi; Donizetti’s L’elisir This summer she returns to the Caramoor
d’amore, Don Pasquale, Roberto Devereux, Festival in the title role of Donizetti’s
and Lucia di Lammermoor; Mozart’s Die Lucrezia Borgia. Ms. Meade has taken
Entführung aus dem Serail, Die first prize in 57 vocal competitions.
Zauberflöte, Così Fan Tutte, and
Don Giovanni; other French operas MARCO SPOTTI (Gualtiero) was born in
including Les pêcheurs de perle, La Juive, Parma, graduated from the Conservatory
Les Huguenots, Offenbach’s Hoffmann, Arrigo Boito, and won the Riccardo
and Massenet’s Manon; concert Zandonai Competition in Riva del Garda,
performances of Händel’s Messiah, Voci Verdiane in Busseto, and the Viotti-
Rossini’s Stabat Mater, Orff’s Carmina Valsesia Competition. After his debut at
Burana, and Bruckner’s Te Deum. Teatro Regio Parma, he sung Il Re (Aida)
at the Opera Marseille, Sarastro (Die
ANGELA MEADE (Matilde) is a native Zauberflöte) and Orbazzano (Tancredi)
of Washington State and an alumnus of at the Opera in Rome, Massimiliano (I
the Academy of Vocal Arts in Philadelphia, Masnadieri) in Bologna under Daniele
and is the recipient of the 2012 Beverly Gatti and in LasPalmas,Oroe(Semiramide)
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Sills Artist Award from the Metropolitan and Orbazzano (Tancredi) at Rossini Opera
Opera and the 2011 Richard Tucker Festival Pesaro, Procida (I Vespri Siciliani)
Award. She joined an elite group of singers at Teatro Massimo Palermo, and Alvise
when she made her professional operatic (La Gioconda) at Teatro Bellini Catania
debut on the stage of the Metropolitan and in Athens. He regularly collaborates
Opera substituting for an ill colleague with the Arena di Verona as Ramfis
in March 2008, in the role of Elvira in (Aida), Alvise (La Gioconda), Colline (La
Verdi’s Ernani. She had previously sung Bohème), Sparafucile (Rigoletto), and
on the Met stage as one of the winners Timur (Turandot). In 2003 Marco Spotti
of the 2007 Metropolitan Opera National debuted at La Scala in Milan as Arcas
Council Auditions, a process documented (Iphigenie En Aulide) with Riccardo
in the film The Audition, released on Muti. After this debut, he was regularly
DVD by Decca. Highlights of Ms. Meade’s invited for Sparafucile (Rigoletto), Aida
recent seasons include Bellini’s Norma with Riccardo Chailly, Daniel Barenboim,
and Verdi’s Falstaff at the Metropolitan Loredano (I Due Foscari), Timur (Turandot)
Opera, the latter broadcasted live in with Valery Gergiev, and Wurm (Luisa
HD; debuts at the Vienna State Opera, Miller) with Gianandrea Noseda. Recently
ROSSINI’S WILLIAM TELL
Deutsche Oper Berlin, Frankfurt Opera, he sung Don Giovanni at Covent Garden
Los Angeles Opera, Torino’s Teatro London, Colline (La Bohème) at Scala
Regio, and Washington National Opera, Milano and Festival Orange, Loredano (I
where she was subsequently honored as Due Foscari) at Theatre Champs Elysees
“2013 Artist of the Year.” On the concert Paris, Enrico VIII (Anna Bolena) at Oper
stage, she has appeared in recital at the Köln, Walther (Guillaume Tell) at Opera
Kennedy Center, and as soloist with the Amsterdam and La Monnaie Bruxelles,
Baltimore, Boston, Cleveland, Houston, Inquisitore (Don Carlo) at Teatro Regio
32BE PRESENT
Torino, Banquo (Macbeth) at Maggio L’inganno felice at the Teatro Malibran
Musicale Fiorentino with James Conlon, in Venice; Fanní in Rossini’s La cambiale
Oroveso (Norma) at Teatro Massimo di matrimonio at the Teatro Malibran
Palermo, and Basilio (Il Barbiere Di and in Ingolstadt; Annina (La traviata)
Siviglia) at Teatro Colón in Buenos Aires. at La Fenice; Zerlina (Don Giovanni) in
Genoa; Euridice (Orphée aux enfers) at
F A B R I Z I O B E G G I (Melcthal) the Maggio Musicale Fiorentino; and
studied with Giovanni Mazzei in 2009. Pamina (Die Zauberflöte) in Bolzano. Her
He subsequently studied with Claudio concert engagements include Rossini’s
Desderi at the Accademia Musicale di Petite messe solennelle at the Opéra
Santa Cecilia, and currently studies with de Marseille and in Liverpool with the
Roberto Scaltriti and Carlo Meliciani. Royal Liverpool Philharmonic Orchestra,
He won the Toti Dal Monte Prize in and a recital at the Musashino Cultural
2012. In 2011 he sang Amonasro in La Foundation in Tokyo.
Fiaba di Aida, a project based on Verdi’s
Aida at the Teatro del Maggio Musicale A N N A M A R I A C H I U R I (Edwige)
Fiorentino. At the Teatro Carlo Felice, was born in Alto Adige (South Tyrol) and
Genoa, his roles have included Don studied at the “Arrigo Boito” Conservatory
Annibale, Pistaccio in Donizetti’s Il in Parma, and with Franco Corelli, and
campanello, Marco and Spinelloccio INB has won numerous competitions,
Puccini’s Gianni Schicchi, Uncle Henry including the Tchaikovsky Competition
in the world premiere of Bruno Coli’s in Moscow. Her engagements include
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Oz on the Road, and the Duke (Roméo Fricka (Das Rheingold, Die Walküre) in
et Juliette). His engagements elsewhere Palermo; Eboli (Don Carlos) at La Scala
include Geronimo (Il matrimonio in Milan and in Turin; Mistress Quickly
segreto) in Treviso, Ferrara and Rovigo; (Falstaff) in Tel Aviv; Amneris (Aida) and
Schmidt (Andrea Chénier), Pietro (Simon Ulrica (Un ballo in maschera) in Liège;
Boccanegra), Monterone (Rigoletto) and Edwige and the Princess de Bouillon
Betto (Gianni Schicchi) in Turin; Don Ciccio (Adriana Lecouvreur) in Turin; Azucena
in Giorgio Battistelli’s Divorzio all’italiana (Il trovatore) at La Fenice, Venice;
in Bologna; and Alidoro (La Cenerentola) in Klytemnästra (Elektra) and Herodias
Ferrara and Treviso. (Salome) in Bolzano, Modena, Ferrara, and
Piacenza; Annina (Der Rosenkavalier)
M A R I N A BUCC I A R E L L I (Jemmy) at the Maggio Musicale Fiorentino; and
studied at the “Luisa d’Annunzio” Fenena (Nabucco) in Wiesbaden, Parma,
Conservatory in Pescara and with and Modena. Her concert engagements
Mariella Devia. After winning several include Verdi’s Requiem in Washington,
competitions, including the As.Li.Co. Beethoven’s Symphony No. 9 in Turin,
Competition, she performed at many and Wagner’s Wesendonck Lieder at the
leading Italian theatres and festivals, Ravello Festival; recently, Bruckner’s Te
including the Rossini Opera Festival Deum and Mozart’s Requiem under Zubin
in Pesaro, where she made her debut Mehta at the Maggio Musicale Fiorentino.
as Corinna (Il viaggio a Reims). Her
engagements also include Lisa (La GABRIELE SAGONA (Gessler) started
sonnambula) in Como, Cremona, and singing with his father Vincenzo and
Pavia; Bimba in Raffaele Sargenti’s Lupus is currently studying with mezzo
in fabula in Trieste; Isabella in Rossini’s Biancamaria Casoni. In 2009 he made his
33UMS
debut as Colline in Puccini’s La Bohéme in (Pagliacci) in Toulouse. His concert
Pesaro, after which he was the only bass engagements include Beethoven’s
in the finals at the As.Li.Co competition Symphony No. 9 with the Orchestra of the
for the role of Colline. In 2010 he sang in Teatro Real in Madrid, conducted by Jesús
Simone Mayr’s Amore ingegnoso (Barone) López Cobos.
at the Bergamo Musica Festival and
Rossini’s Barbiere di Siviglia and SAVERIO FIORE (Rodolfo) was born
Paisiello’s Barbiere di Siviglia at Teatro in Bari, and won a scholarship to the
Verdi in Sassari. His repertoire includes Accademia di Arte Lirica in Osimo. At
several titles: Don Giovanni (Don present he continues his studies coached
Giovanni, Leporello, Masetto); Elisir byLuigideCorado.Afterhavingperformed
d'Amore (Dulcamara; Don Pasquale; title roles at the most prestigious Italian
Aida (Re); Rigoletto (Monterone); musical institutions for several years
and Tosca (Angelotti). His concert (Teatro La Fenice in Venice, the Maggio
engagements include performances Musicale Fiorentino, the Teatro dell’Opera
in Wiener Konzerthaus, Teatro Sociale in Rome, the Teatro San Carlo in Naples,
in Bergamo and Como, Festival MiTo, and the Teatro Massimo in Palermo), the
Circolo degli Artisti in Torino, Amici singer decided to devote himself mainly
della musica in Sondalo, and Casa Verdi to the interpretation of side roles, like
in Milan. He has recorded Simone Arturo in Lucia di Lammermoor, Peppe
Mayr’s Amore ingegnoso for Bongiovanni in Pagliacci, Edmondo in Manon Lescaut,
and Verdi’s Un ballo in maschera (Tom) in and Goro in Madama Butterfly. He sang
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a Teatro Regio Torino production for RAI. in several opera productions under the
batons of Loris Maazel, Seiji Ozawa, and
M I K E L D I AT X A L A N D A B A S O Ricardo Muti, under which he made
(Ruodi) was born in Bilbao. He won the his debut at the Festival in Salzburg as
Manuel Ausensi Competition and Aufide in Rossini’s Moise et Pharaon, then
made his professional debut in 2007. being re-engaged for the opening of the
His engagements include the title role 2010–11 season at the Teatro dell’Opera
in Falla’s El retablo de Maese Pedro at in Rome for the same production.
La Monnaie in Brussels, Teatro Real in
Madrid, and Teatre del Liceu in Barcelona; PAOLO MARIA ORECCHIA (Leutoldo)
Ruodi (Guillaume Tell) conducted by was born in Rome and studied at the
Alberto Zedda in La Coruña and in “Luisa D’Annunzio” Conservatory in
Amsterdam; the Duke (Rigoletto) in La Pescara, and with Ezio Di Cesare. He
Coruña; Nemorino (L’elisir d’amore); made his debut as Malatesta (Don
Monostatos (Die Zauberflöte) and Pong Pasquale) with the Bayerischer Rundfunk
(Turandot) in Oviedo; Sir Bruno Robertson Orchester conducted by Roberto Abbado
(I Puritani), Lord Cecil (Roberto Devereux) and has subsequently performed at
ROSSINI’S WILLIAM TELL
with Edita Gruberova and Bois-Rosé (Les some of the most important theatres in
Huguenots) at the Teatro Real in Madrid; Italy. His recent engagements include
Bardolfo (Falstaff), Brighella (Ariadne Prince Yamadori (Madama Butterfly), le
auf Naxos), Triquet (Eugene Onegin), Dancaïre (Carmen), Baron Douphol (La
and Nemorino in Bilbao; Goro (Madama traviata), and Bogdanowitsch (Die lustige
Butterfly) in Seville; Tony (West Side Witwe) in Turin; Marquis d’Obigny (La
Story); Jorge in Arrieta’s Marina at the traviata) and Sciarrone (Tosca) in Verona;
Teatro Zarzuela in Madrid; and Beppe Fiorello (Il barbiere di Siviglia) in Toulon;
34BE PRESENT
Nicomedes in Zemlinsky’s Der König with Ildebrando D’Arcangelo, and two for
Kandaules, Marullo (Rigoletto), Kunz Chandos: Four Sacred Pieces by Verdi and
and Gilgenstock in Strauss’s Feuersnot, Magnificat e Salmo XII by Petrassi.
and Hortensius (La fille du régiment) in
T
Palermo; Sacristan (Tosca) at La Scala E AT RO R E G I O TO R I N O was
in Milan, and in Brescia, Como, Pavia, inaugurated in December 1740,
Cremona, Caracalla, and Rome; Don with Francesco Feo’s Arsace. An
Alfonso (Così fan tutte) in Cagliari; and important international opera house from
Schaunard (La bohème) at La Scala and the outset, it hosted the world premieres
La Fenice. of Puccini’s Manon Lescaut (1893) and La
bohème (1896), and the Italian premiere
of Strauss’s Salome, conducted by the
O
RCHESTRA TEATRO REGIO composer. The old theatre was destroyed
T O R I N O descends from an by fire in 1936; its replacement was
orchestra founded at the end of inaugurated in April 1973, with I Vespri
the 19th century by Arturo Toscanini, siciliani directed by Maria Callas and
under whose direction were staged the Giuseppe Di Stefano. The new theatre
world premieres of Manon Lescaut and rapidly established a reputation as one of
La Bohème by Puccini. The Orchestra has the leading Italian opera houses, thanks
been conducted by such internationally largely to the quality of its Orchestra and
famous conductors as Abbado, Bychkov, Chorus. In 2007 Gianandrea Noseda was
Gergiev, Luisotti, Tate, and finally appointed music director of the Teatro
Regio Torino. In addition to a full season
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Gianandrea Noseda, who has been the
Music Director of the Teatro Regio since of staged operas, Mr. Noseda leads the
2007. The Orchestra has been invited to Orchestra and Chorus of the Teatro Regio
many foreign festivals and theaters. In the on international tours to represent Italian
last five years, it has been guest, together music culture worldwide, undertaking
with maestro Noseda, in Germany residences at the Bunka Kaikan in Tokyo
(Wiesbaden, Dresden), Spain (Madrid, in 2010 and 2013; in Spain in 2011; at
Oviedo, Zaragoza), Austria (Wiener the Dresden Music Festival, the Vienna
Konzerthaus), France (at Théâtre des Konzerthaus, and the Verbier Festival
Champs-Elysées in Paris), and Switzerland in 2013; and, each year since 2011,
(Verbier Festival). In the summer of 2010 at the Théâtre des Champs-Élysées,
it carried out a triumphant tour in Japan Paris. This year the Teatro Regio Torino
and China with Traviata and Bohème, a makes its first tour of North America,
great success that was repeated in 2013 including performances of Guglielmo
with the recent Regio Japan Tour. The Tell in Chicago, Ann Arbor, Toronto, and at
first tour in Saint Petersburg in 2014 has Carnegie Hall in New York City.
been followed by many others concerts
in Stresa, Edinburgh, and Paris. The
C
Orchestra of Teatro Regio Torino with H O R U S T E AT R O R E G I O
the Chorus of the Teatro, all conducted by T O R I N O was founded at
Gianandrea Noseda, have recorded two the end of the 19th century
Deutsche Grammophon CDs dedicated and re-established in 1945 after the
to Verdi with Rolando Villazón and Anna Second World War, and is one of the
Netrebko, one CD dedicated to Mozart most important opera choruses in
35UMS
Europe. Under the direction of maestro the productions of the Opera Season, the
Bruno Casoni (1994–2002) it reached Chorus also carries out important concert
the highest international level, as activity, both opera-symphonic and a
demonstrated by the performance of cappella, and participates in numerous
Verdi’s Otello under the baton of Claudio recordings, including the DVD production
Abbado and by the esteem of Semyon of Boris Godunov by Mussorgsky, Un ballo
Bychkov, who, after conducting the in maschera and Vespri siciliani by Verdi,
Chorus in 2002 in the b minor Mass by Thaïs by Massenet, Edgar by Puccini,
Bach, invited it to Cologne to record Medea by Cherubini, and several Chandos
Verdi’s Requiem and returned in 2012 records with the Orchestra Teatro Regio
to involve it in a concert of Brahms with Torino. The Chorus took part in numerous
the Rai National Symphony Orchestra. tours of the Teatro Regio all over Europe
The Chorus was later conducted by and in both Eastern tours, with different
maestro Roberto Gabbiani, who fostered operas and opera-symphonic concerts:
its artistic development even further, China and Japan in 2010, Tokyo and
while in November 2010 the position was Verbier Festival in 2013, Saint Petersburg,
assigned to Claudio Fenoglio. Engaged in Stresa, Edinburgh, and Paris in 2014.
T E AT R O R E G I O T O R I N O
Piero Fassino, The Mayor of the City of A D M I N I S T R AT I O N A N D S TA F F
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Torino and President Alessandro Galoppini, Director of
Walter Vergnano, General Manager Artistic Area
Gastón Fournier-Facio, Artistic Director Alessandra Bazoli, Director of
Gianandrea Noseda, Conductor Organisation, Personnel and Legal
Carlo Carrà, Director of Finance and
Administration
Paola Giunti, Director of Communication
and Public Relations
Florence Plouchart-Cohn, Assistant
to the General Manager and Music
Director
ROSSINI’S WILLIAM TELL
36BE PRESENT
O R C H E S T R A T E AT R O R E G I O T O R I N O
CONCERTMASTERS CELLI TRUMPETS
Sergey Galaktionov Relja Lukic° Ivano Buat°
Stefano Vagnarelli Jacopo Di Tonno° Marco Rigoletti
Giulio Arpinati
VIOLIN I Amedeo Fenoglio TROMBONES
Marina Bertolo Alfredo Giarbella Vincent Lepape°
Claudia Zanzotto Armando Matacena Enrico Avico
Fation Hoxholli Luisa Miroglio Marco Tempesta
Elio Lercara Paola Perardi
Enrico Luxardo T I M PA N I
Miriam Maltagliati BASSES Ranieri Paluselli°
Alessio Murgia Davide Botto°
Davide Ghio° PERCUSSION
Paola Pradotto
Atos Canestrelli Lavinio Carminati
Laura Quaglia
Fulvio Caccialupi Massimiliano Francese
Daniele Soncin
Michele Lipani Fiorenzo Sordini
Giuseppe Tripodi
Roberto Zoppi Stefano Schiavolin
HARP
PICCOLO Elena Corni°
VIOLIN II
Cecilia Bacci° Roberto Baiocco
O F F S TA G E H O R N S
Marco Polidori°
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FLUTES Natalino Ricciardo°
Tomoka Osakabe Pierluigi Filagna
Andrea Manco°
Bartolomeo Angelillo
Maria Siracusa
Silvana Balocco MUSIC LIBRARY
Paola Bettella SERVICES
OBOES
Maurizio Dore Franco Chiapino
Luigi Finetto°
Anna Rita Ercolini Maurizio Lusci
Stefano Simondi
Silvio Gasparella
Roberto Lirelli ORCHESTRA
ENGLISH HORN INSPECTOR
Anselma Martellono Alessandro Cammilli Gabriele Sosso
Ivana Nicoletta
CLARINETS ° Principal
VIOLAS Luigi Picatto° * Chair supported by the
Armando Barilli° Luciano Meola Fondazione Zegna
Enrico Carraro° *
Alessandro Cipolletta BASSOONS
With special thanks to the
Gustavo Fioravanti Andrea Azzi° Fondazione Pro Canale of Milan
Andrea Arcelli Orazio Lodin for lending its instruments to
Rita Bracci the following musicians: Sergey
HORNS Galaktionov (violin by Giovanni
Claudio Cavalletti
Battista Guadagnini; Turin, 1772);
Alma Mandolesi Ugo Favaro°
Stefano Vagnarelli (violin by
Franco Mori Evandro Merisio Francesco Ruggieri; Cremona, 1686);
Claudio Vignetta Fabrizio Dindo Marina Bertolo (violin by Carlo
Ferdinando Landolfi; Milan, 1751);
Eros Tondella
Cecilia Bacci (violin by Santo Serafino;
Venice, 1725); Enrico Carraro (viola by
Giovanni Paolo Maggini, c1600). 37UMS
C H O R U S T E AT R O R E G I O T O R I N O
Claudio Fenoglio, TENOR CHORUS INSPECTOR
Chorus Master Pierangelo Aimé Mauro Ponzio
Janos Buhalla
SOPRANO Marino Capettini O F F - S TA G E
Gian Luigi Cara CONDUCTOR AND
Sabrina Amè
VOCAL COACH
Nicoletta Baù Antonio Coretti
Carlo Caputo
Chiara Bongiovanni Diego Cossu
Anna Maria Borri Luis Odilon Dos Santos COLUMBIA ARTISTS
Caterina Borruso Alejandro Escobar MANAGEMENT LLC.
Sabrina Boscarato Giancarlo Fabbri Tour Direction
Eugenia Braynova Sabino Gaita R. Douglas Sheldon, Senior
Serafina Cannillo Mauro Ginestrone Vice President
Cristina Cogno Roberto Guenno
Cristiana Cordero Leopoldo Lo Sciuto Tour Coordinator
Eugenia Degregori Vito Martino Karen Kloster
Alessandra Di Paolo Matteo Mugavero
Manuela Giacomini Matteo Pavlica Managerial Assistant
Rita La Vecchia Dario Prola Marcus Lalli
Laura Lanfranchi Sandro Tonino
Paola Isabella Lopopolo Franco Traverso Tour Manager
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Maria de Lourdes Martins Valerio Varetto Ann Woodruff
Pierina Trivero
Giovanna Zerilli BARITONE / BASS
Leonardo Baldi Special thanks to Lawrence
MEZZO-SOPRANO / Mauro Barra Perelman of Semantix Creative
C O N T R A LT O Group.
Lorenzo Battagion
Angelica Buzzolan Enrico Bava
Shiow-hwa Chang Giuseppe Capoferri
Ivana Cravero Massimo Di Stefano
Corallina Demaria Umberto Ginanni
Maria Di Mauro Vladimir Jurlin
Roberta Garelli Desaret Lika
Rossana Gariboldi Luca Ludovici
Elena Induni Riccardo Mattiotto
Antonella Martin Davide Motta Fré
Raffaella Riello Gheorghe Valentin Nistor
Myriam Rossignol Mirko Quarello
ROSSINI’S WILLIAM TELL
Marina Sandberg Franco Rizzo
Teresa Uda Enrico Speroni
Daniela Valdenassi Marco Sportelli
Tiziana Valvo Marco Tognozzi
Barbara Vivian Vincenzo Vigo
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