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Arias for Benucci

Matthew Rose Arcangelo Jonathan Cohen



ENGLISH  page 6

Sung texts and translation  page 12

Arias written for the buffo bass-baritone Francesco Benucci, Mozarts first Figaro


1 Overture from Il re Teodoro in Venezia (Vienna, 1784) . . . . . . . . . . . . . . . . . . . . . . . . . . . [4'46]


2 ARIA Spirti invisibili from La grotta di Trofonio, Act 1 Scene 5 (Vienna, 1785) . . . . . . . . . [6'34]


3 ARIA Ah mal aya, a quella mano! from Una cosa rara, Act 2 Scene 11 (Vienna, 1786) . . . [3'38]


4 ARIA Rivolgete a lui lo sguardo K584 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [5'27]
discarded aria from Cos fan tutte, K588, Act 1 (Vienna, 1790)
5 ARIA Donne mie, la fate a tanti from Cos fan tutte, K588, Act 2 (Vienna, 1790) . . . . . . [3'20]


6 ARIA In quegli anni from Una cosa rara, Act 1 Scene 12 (Vienna, 1786) . . . . . . . . . . . . . . [4'13]


7 Overture from Don Giovanni, K527 (Prague, 1787) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [6'01]

8 RECITATIVO Eh consolatevi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [0'30]

9 ARIA Madamina, il catalogo questo from Don Giovanni, K527, Act 1 (Vienna, 1788) [5'41]

bl ARIA Idol vano dun popol codardo from Axur, re dOrmus, Act 5 Scene 1 (Vienna, 1788) [2'24]

GIUSEPPE SARTI (1729 1802)
bm RECITATIVO Oime! che innanzi agli occhi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [3'06]
bn ARIA Penso, che per morire from I contrattempi, Act 2 Scene 12 (Venice, 1778) . . . . . . . [5'05]


bo Overture from Le nozze di Figaro, K492 (Vienna, 1786) . . . . . . . . . . . . . . . . . . . . . . . . . . . [4'14]

bp RECITATIVO Bravo, signor padrone! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [0'47]

bq CAVATINA Se vuol ballare from Le nozze di Figaro, K492, Act 1 Scene 2 (Vienna, 1786) . . . [2'37]

br RECITATIVO Tutto disposto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [1'25]

bs ARIA Aprite un po quegli occhi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [2'41]
from Le nozze di Figaro, K492, Act 4 Scene 8 (Vienna, 1786)
bt RECITATIVO Ehi, sor paggio! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [1'05]
bu ARIA Non pi andrai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [3'48]
from Le nozze di Figaro, K492, Act 1 Scene 8, with alternative recitative (Vienna, 1786)
cl DUETTO Il core vi dono from Cos fan tutte, K588, Act 2 (Vienna, 1790) . . . . . . . . . . . . . . [4'46]

cm RECITATIVO Restati qu! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [1'26]

cn DUETTO Per queste tue manine K540b . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [3'29]
interpolated duet (Vienna, 1788) from Don Giovanni, K527, Act 2


ANNA DEVIN soprano cm cn
Matthew Rose
Photograph Lena Kern

URTURED BY THE PATRONAGE of Emperor 1783 instructing him to renew Benuccis contract only five
Joseph II, Viennas new Italian opera buffa weeks after the companys inaugural performance:
company was inaugurated in 1783. Mozart was Since it appears to me that the singer Benucci finds
initially doubtful about whether an Italian comic opera favour with the public, I would like you to try to
troupe could flourish in Vienna, but soon he began to convince him to stay until Easter and then for one year
consider the potential of composing his own Italian comic further; if he agrees to this in a new contract then
opera for the new company. On 7 May 1783 he wrote to his you can keep the best from among the rest of the
father in Salzburg: Well, the Italian opera buffa has started troupe; if Benucci [does] not stay, then the others
again here and is very popular. The buffo is particularly need not be kept on.
goodhis name is Benucci. Benucci was evidently fundamental to the viability and
The companys principal buffo Francesco Benucci began success of Italian opera buffa in Vienna during the 1780s.
his career in his native Livorno in about 1768; no record of He sang the role of the inn-keeper Taddeo in Giovanni
his birth or baptism has yet been identified, but he seems Paisiellos Il re Teodoro in Venezia (first performed on 23
to have been about twenty-three years old when he first sang August 1784). Its libretto by the political satirist Giovanni
in revivals of old operas by Galuppi and Gassmann. From Battista Casti was based on an episode from Voltaires
1777 he started singing regularly in leading operatic centres Candide, and the music was commissioned from Paisiello
across Italy, including Bologna (operas by Anfossi and as he passed through Vienna on his way from St Petersburg
Paisiello), Genoa, Turin, Florence, Rome (where he first to Naples; its spectacular overture (track 1 ) must have
collaborated with Cimarosa), and Venice, where his role as been one of the reasons this enormously successful opera
Frasconio in Giuseppe Sartis I contrattempi (Teatro San had been performed nearly sixty times in Vienna by 1791.
Samuele, 1778) was one of the first parts to be specifically Casti also provided the libretto for Antonio Salieris La grotta
composed for him. In an endearing accompanied recitative di Trofonio (12 October 1785), in which Benucci performed
and aria (Oime! che innanzi agli occhi Penso, che the title role. The sorcerer Trofonio amuses himself by
per morire, tracks bm & bn ), Frasconio exaggerates his conjuring up dark spirits and putting spells on innocent
predicament into a comparison with the difficulty the defiant neighbours who live near his magical grotto. His first
Cato had in committing suicide. appearance, as he stands outside his cave and calls
In 1782 Benucci was performing in Milan, where the forth demons, is the entertainingly sinister ombra scene
librettist Giovanni Battista Casti reported enthusiastically on Spirti invisibili (track 2 ), which Salieri annotated in his
his rich vocal timbre, and claimed that the most excellent autograph manuscript:
singer was the most graceful buffo known to me, without The aria Spirti invisibili, with chorus at the end, is
vulgarity and poor taste, but with elegance and intelligence. purely magic; and it seems to me that the music has
At Easter 1783 Benucci was hired by the Viennese court the right character. But for it to have effect the voice
theatre (Burgtheater), where he became a mainstay for the that sings it must be of great power, and dark.
next twelve years. His essential value to the fledgling buffa Two successful operas first performed in 1786 both had
troupe is clear from Joseph IIs memorandum to the court librettos by Lorenzo Da Ponte: Mozarts Le nozze di Figaro
theatre director Count Franz Orsini Rosenberg on 2 June (1 May) and Vicente Martn y Solers Una cosa rara
(17 November). Figaro was adapted from Beaumarchais
play La folle journe (1784, Paris), a sequel to the
authors Le Barbier de Sville, which had inspired an
operatic setting by Paisiello. Benucci sang Bartolo in the
1783 Viennese production of Paisiellos opera (it had been
first performed a year earlier in St Petersburg), but in
Mozarts sequel he was promoted to the title role. Count
Almaviva, striving to be an enlightened lord, has abolished
his droit de Seigneur, the feudal right to deflower his
dependant brides in advance of their wedding. Susanna
warns her husband-to-be Figaro that she suspects the Count
is reluctant to abandon the old ways and is trying to
seduce her. In the cavatina Se vuol ballare, signor contino
(track bq ), Figaro vows that if the Count wants to dance,
then Figaro will dictate the tune (Mozarts music reinforces
this message, by moving from a sarcastic minuet into
a quick contredanse). However, the intrigues of this day
of madness swiftly become more complicated when it
transpires that the hypocritical Count is jealous of the
attention his lonely wife Rosina is paying to the ardent young
page Cherubino, whom he discovers hiding in his wifes
room. The Count irritably banishes Cherubino to his
regiment with an officers commission. Figaro pretends to
send the boy off to war, telling him that carefree flirting FRANCESCO BENUCCI
will be replaced with death and glory (Non pi andrai,
track bu ). Tailor-made for Benuccis vocal assets and comic Cherubino, alla vittoria! Alla gloria militar!, which he
acting, the companys tenor Michael Kelly (who sang Don gave out with Stentorian lungs, the effect was electricity
Basilio) later reminisced: itself, for the whole of the performers on stage, and
I remember at the first rehearsal of the full band, those in the orchestra, as if actuated by one feeling of
Mozart was on stage with his crimson pelisse and gold- delight, vociferated Bravo! Bravo! Maestro. Viva, viva,
laced cocked hat, giving the time of the music to the grande Mozart. Those in the orchestra I thought would
orchestra. Figaros song, Non pi andrai, farfallone never have ceased applauding, by beating the bows of
amoroso, Benucci gave, with the greatest animation their violins against the music desks. The little man
and power of voice. I was standing close to Mozart, acknowledged, by repeated obeisances, his thanks for
who, sotto voce, was repeating, Bravo! Bravo! Benucci; the distinguished marks of enthusiastic applause
and when Benucci came to the fine passage, bestowed upon him.
By Act 4, Figaros plight has become more desperate. (7 May 1788) the part was taken by Benucci. Leporellos
Heartbroken that Susanna appears to be unfaithful, his witty but sly Madamina, il catalogo questo (track 9 ) is a
monologue Aprite un po quegli occhi (track bs ) uses perfect example of the kind of buffo catalogue aria at which
disconnected phrases to convey his worries, and at its close Benucci excelled: he is known to have impressed audiences
he is mocked by a virile horn fanfare. Performed nine times with his performances of catalogue arias in other operas,
during 1786, Le nozze di Figaro was reasonably successful, such as Tittas list of his employment history as an assassin,
but six months later Martn y Solers light-hearted comedy dancer and male soprano, made up in order to impress a
Una cosa rara threw Viennas fashionable society into a girl in Sartis Fra i due litiganti il terzo gode (Vienna,
frenzy. Alternatively titled Bellezza ed onestthe full title 1783), and Mozart also created for him an innuendo-loaded
thus implies it is a rare thing to find beauty and honesty list in Cos fan tutte (see below). Leporellos catalogue
togetherwithin five years the opera had also been aria conveys a juxtaposition of comic charm and cruelly
produced in Dresden, Prague, Milan, Venice, St Petersburg, salacious undertones: Donna Elvira, having been used and
London, Madrid, Barcelona and Paris. The mountain discarded by Don Giovanni, almost catches up with her
villagers Tita (Benucci) and his wife Ghita are devoted but betrayer, but he escapes and instructs his servant to explain
hot-headed; he is trying to force his sister Lilla (the village the truth of things to the scorned woman; Leporello gleefully
beauty) to marry the local major against her will, rather shows her the catalogue of Giovannis sexual conquests,
than allow her to wed the mountaineer Lubino. Ghita pointing out the statistics of 640 in Italy, 231 in Germany,
emotionally pleads with Tita to relent; he responds by 100 in France, 91 in Turkey, and, in Spain alone, a gigantic
claiming that even if he had been as furious as a lion, the 1003. Mozart switches the music to a sardonic minuet for
tears of the fairer sex reduce him to a lamb or a rabbit, but Leporellos sordid observation that Giovanni particularly
he also grumbles that women use their wiles to always get enjoys young virgins.
what they want (In quegli anni, track 6 ). Later on, when The Vienna version of Don Giovanni necessitated some
Tita accuses his wife of infidelity, she angrily slaps him, and judicious rewriting of various scenes. Mozarts Viennese
he splutters indignantly in a mixture of Spanish and Italian alternatives include a new duet in Act 2 for Leporello and
in Ah mal aya, a quella mano! (track 3 ); he sings Zerlina (Per queste tue manine, track cn ). The servant,
breathless repetitive short phrases, and concludes with an disguised as his master, has briefly escaped from the
envoi addressed to all abused husbands in the audience. clutches of a host of offended people seeking to punish the
This aria was so popular in Vienna that it was printed as a libertine. In the Vienna version, Zerlina drags Leporello back
soprano song. by the hair, ties him to a chair fastened to a window, and
Another sign of the popularity of Una cosa rara is threatens him with torture; he pleads his innocence and
Mozarts affectionate quotation of an extract from it in the asks to be released, but Zerlina refuses and goes in search
supper scene in Don Giovanni, first performed almost a of help (Leporello tugs the window-frame from its hinges,
year later at the National Theatre in Prague on 29 October and escapes still attached to both the chair and the window-
1787. On this occasion, the role of the anti-heros be- frame).
leaguered but perversely loyal servant Leporello was sung Another opera to fuse serious and comic elements
by Felice Ponziani, but when the opera was revived in Vienna together was Antonio Salieris Axur, re dOrmus (8 January
1788). The opera had initially been planned as a revision of (Count Almaviva and Susannas Crudel! perch finora).
Salieris recent Paris opera Tarare (1787) but Da Ponte The occasion was reported in the Morning Post:
found it difficult to adapt Beaumarchais French libretto Benucci, the new buffo, possesses a tolerable person, a
into a suitable Italian text, so the opera was substantially very good voice, and considerable judgment. His voice
rewritten and renamed. Packed with visual spectacle, is, however, not so good as [Giovanni] Morellis, nor
French-influenced tragedy and musical kinship to opera has he so much humour as that performer, but
seria, its creators distinguished it from the usual opere Benucci is more of a gentleman, and is a better
buffe by calling it a dramma tragicomo. Benucci sang the musician. It is, however, not proper to decide upon the
title-role, a far more serious character than his usual parts merits of Benucci at first, particularly as his fame in
(the tyrant eventually commits suicide on-stage). His arias, Italy is very great.
including Idol vano dun popol codardo (track bl ), were In Vienna praise of Benuccis qualities was more effusive.
designed on a concise scale, and are intriguing examples of An anonymous pamphlet printed in 1790 extolled his
his participation in a more solemn dramatic genre. Salieris dignified stage manner, praising that only Benucci
annotations to the autograph score describe Axur as: knows how to elevate the plot with his acting and singing.
a ferocious man, without scruples. He will be dressed Exploiting Benuccis capabilities was evidently on Mozarts
alla turca, if desired. The costume must be splendid, mind when composing the role of Guglielmo in Cos fan
but with a combination of colours that serves as much tutte (26 January 1790). Da Pontes tale of two men who
as possible to characterize a tyrant. accept a wager to dress up as Albanians in order to test
Performed a hundred times in Vienna between 1788 and the fidelity of each others girlfriends (only to end up
1805, Salieris Axur was reputedly Joseph IIs favourite disillusioned by their varying rates of success) was intended
opera, but by the end of 1788 the emperorhis health initially for Salieri, who abandoned work on setting it to
worsening and in the midst of an expensive war with music. There is some evidence Mozart took considerable
Turkeyannounced plans to dissolve the opera buffa trouble over creating the large-scale aria Rivolgete a lui lo
company. He recommended Benucci to the service of his sguardo (K584, track 4 ) for Guglielmos comic catalogue
brother (and successor) Leopold in Florence, writing to him of the Albanians attractive merits: his boasts include
on 18 December that: In all fairness to him I have to avow references to mythical and historical figures including
that during his six years here his conduct has been entirely Narcissus, Cyclops, Croesus and Mark Antony, in a long list
above reproach. that alludes to Aesops fables and Boiardos fifteenth-century
In the event, Joseph II changed his mind and retained epic Orlando innamorato. Moreover, Guglielmo boasts
the Italian opera company, but in the meantime Benucci of their skills in dancing and singing, and that he and
had agreed to sing with Nancy Storace in a series of his Albanian compatriot are without equal from Canada
performances in London (1789). Benucci obtained a leave to Vienna; he insinuates that they also possess impressive
of absence, and made his Kings Theatre debut in a revival physical attributes, which sends the sisters scurrying away
of Giuseppe Gazzingas La vendemmia, an opera he had in embarrassment. Notwithstanding the efforts Mozart went
already sung in 1778 at Genoa, but which on this occasion to in tailoring this showpiece including oboes, bassoons,
included a duet interpolated from Le nozze di Figaro trumpets and timpani for Benuccis talents, it seems he
evaluated that the lengthy catalogue aria was unsuitable for exaggerates. Even when he brings his acting to the
the dramatic context of the scene. The big aria was removed highest extremes, he maintains propriety and secure
during the compositional process and replaced with the limits, which hold him back from absurd, vulgar
more concise and functional Non siate ritrosi, in which comedy. I liked him particularly in the opera Il
Guglielmos innuendo about the size of the Albanians matrimonio segreto. He acts and sings the role of the
moustaches quickly breaks down into the laughing trio for Count in a masterly fashion. I wouldnt have believed
the disguised men and their cynical mentor Don Alfonso. that, in spite of being a comedian, he nonetheless still
Later on in the opera, Guglielmo seduces Dorabella during manages to portray Axur by Salieri in a rather serious
a walk around the garden, and replaces her portrait of manner.
Ferrando with his own gift of a pendant heart. In their duet Benuccis celebrated role of Count Robinson in Cimarosas
Il core vi dono (track cl ), Guglielmo can hardly believe popular masterpiece Il matrimonio segreto (1792) marked
his own success as he responds smoothly to Dorabellas the climax of his Viennese successes. By autumn 1795 he
flirtatiousness. However, when he later reports to Ferrando was back in Italy; his last public opera performances at
of Dorabellas fickleness, he provides cold comfort to his major theatres were at La Scala in Milan (1795) and Rome
furious friend by opining paradoxically that he loves women, (1796). Thereafter, he returned to Livorno, where he gave
and will always defend their honour, but he is also revolted his last known performance in 1800; he died in Florence
by their habit of deceiving men (Donne mie, la fate a tanti, on 5 April 1824.
track 5 ). This album presents a variety of scenes performed by
Just under a month after the premiere of Cos fan tutte, Benucci, almost all of them from operas produced in
Joseph II died on 20 February 1790. He was succeeded by Vienna, and mostly roles written specifically for him. The
his brother Leopold II, who radically transformed the Vienna Viennese company staged seventy-five opere buffe between
court opera by dismissing Da Ponte and reintroducing opera 1783 and 1792; only Mozarts famous trilogy of comedies
seria and ballet. In the event, Leopold only reigned for on librettos by Da Ponte have become established as popular
two years, and was succeeded by Francis II. Notwithstanding core repertoire in the intervening centuries, but Matthew
these drastic transitions in Viennese court life and operatic Rose and Arcangelo enable us to hear celebrated extracts
patronage, Benucci continued to flourish. By 1793 4 he from these masterpieces in the context of less familiar
was the opera buffa companys highest-paid performer, and music for Vienna by Salieri, Paisiello and Martn y Soler. This
in 1793 the Berlinische musikaliche Zeitung praised his broader view of the first Figaro enables us to appreciate
vocal and dramatic abilities: Mozarts genius afresh, enjoy the different merits of his
Benucci combines unaffected, excellent acting with most talented contemporaries, and to consider the career
an exceptionally round, beautiful, and full bass voice. and qualities of the most renowned buffo singer of his
He is as much a complete singer as a choice actor. He generation.
has a rare habit that few Italian singers share: he never DAVID VICKERS 2015

Also available
Handels Finest Arias for Base Voice
Purvess flair for specific characterization enlivens every
number on the disc. Egged on by Arcangelos splenetic
strings, he works in himself into a rage worthy of Boschi
in an aria from Riccardo Primo. Coloratura, here and
elsewhere, is always precisely focused, wide leaps cleanly
negotiated at speed Jonathan Cohen and Arcangelo
savour the rich string textures here, typical of their feeling
for colour throughout (Gramophone) Purves is a singer
in a million his interpretations come to life in
partnership with the gloriously unbuttoned period-
instrument band Arcangelo under its charismatic director
Jonathan Cohen ( One to treasure (BBC
Music Magazine)
Arias for Guadagni
The first modern castrato
IESTYN DAVIES countertenor
A beautiful recital: 78 minutes of pure bliss for
connoisseurs and beginners alike (The Mail on Sunday)
Through his effortless line, countertenor Iestyn Davies
revivifies Guadagnis Orphic powers. He is particularly
breathtaking in works by Handel, Arne and John C Smith,
all of which were designed to show off the castratos
pellucid timbre a refreshingly ambitious and superbly
realised recording (BBC Music Magazine) If Guadagni was noted for the delicacy of his phrasing and the
richness of character in his voice, Davies fully emulates him in these performances of arias by Handel, Hasse
and Arne, with defining interpretations of extracts from Glucks Orfeo and an eloquently poised aria by
Guadagni himself. Arcangelo lends exquisite instrumental support (The Daily Telegraph)

1 Overture from Il re Teodoro in Venezia (Vienna, 1784)


Spirti invisibili from La grotta di Trofonio, Act 1 Scene 5 (Vienna, 1785)
2 TROFONIO (uscendo dalla grotta) Spirti invisibili TROFONIO (emerging from the cave) Invisible spirits
Chite per laere, of the air,
Di tuoni e folgori fomentors
Eccitator; of thunder and lightning;
E voi di rupi and you of the rocks
E dantri cupi, and caverns dark,
Voi del profondo who, unknown
Centro del mondo to the common herd,
Al volgo incogniti inhabit
Abitator, the earths deep core,
Restate meco stay with me
In questo speco, in this cavern,
Deffetti magici artificer
Operator. of magical effects.
Quindi gli elettrici Let electrical
Effluvi esalino, emanations be emitted,
Che i nervi e i muscoli shocking and shaking
Urtino e scuotano, nerves and muscles,
E insinuandosi and insinuating themselves
Entro le cellule into the cells
Del molle cerebro of the flaccid brain,
Sgombrin linerzia let them cast out inertia
E vi risveglino and reawaken
Moto e vigor. activity and vigour.
O i sensi ignavi Or let them dull the lively
Offuschi e aggravi senses, and induce
Pesante e torpido heavy, sluggish,
Crasso vapor. foggy vapours.
E a chi sinterna And whoever enters
Nella caverna the cave, let them
Trasmuti ed alteri transmute and alter
Indole e umor. his temperament and mood.
Udiste? o incantamenti Did you hear? Or are you waiting for
Attendete pi forti e pi possenti? stronger, more powerful incantations?

CORO DI SPIRITI (dal fondo della grotta) Perch tinfochi, CHORUS OF SPIRITS (from the depths of the cave) Why fire yourself up
Con gridi rochi? with raucous cries?
Perch ci evochi Why have you summoned us
Da i stigi lochi, from the Stygian depths,
Gran ciurmator? O great deceiver?
TROFONIO Se in questantro talun per una porta TROFONIO If a person should enter this cave
Entri, e per laltra sorta; by one door and leave by the other,
Il tristo in gaio, e il gaio change the melancholic mood to merry
In tristo umor converta, and the merry to melancholic.
E se allantro poi torni e ventri e nesca And if he then comes back, and leaves
Per lopposto sentiero, through the opposite door,
Torni allumor primiero. let the first mood return.
Cos prescrive e vuole Thus it is prescribed, and thus decreed
Il poter di mie magiche parole. by the power of my magic spells.
CORO DI SPIRITI Qui stiam con irti CHORUS OF SPIRITS Here we are, ears
Orecchi a urdirti; pricked to hear you,
Lemuri e spirti ghosts and spirits
Ad obbedirti ever attentive
Attenti ognor. to do your will.


Ah mal aya, a quella mano! from Una cosa rara, Act 2 Scene 11 (Vienna, 1786)
3 TITA Ah mal aya, a quella mano! TITA By the devil, by the hand!
Uno schiaffo ad un serrano, A slap for a mountaineer,
Uno schiaffo ad un marito, a slap for a husband,
Uno schiaffo ad un mio par! a slap for a man like me!
Por la vida de mi padre, On my fathers life,
Por la vida de mi madre, on my mothers life,
Y por vida de m mismo, on my own life,
No lo quiero sopportar. I will not put up with it.
Qua la cappa, qua la spada, Here the cloak, here the sword,
Larchibuso, la pistola, the arquebus, the pistol,
Me lafferro per la gola. I will seize her by the throat.
Cuciliada, pugnalada, Stabbing, fighting,
Che stoccada, che macello! what a thrust, what a slaughter!
Y por tierra a de tumbar. And it would bring her down.

Ma una femmina a duello But how can one challenge
Come mai si pu sfidar? a woman to a duel?
Ah perch non fu qualche altra Ah, why was there not some other woman
Chio potea per vendicarmi with whom I could avenge myself
Col baciarla e ribaciarla by kissing her over and over again,
Da me sol giustizia farmi. and bring justice to myself.
Ma la sposa non cosa But a wife is not a thing
Che dia gusto nel baciar. to be set right by kissing.
Ah demonio dellinfierno Ah, infernal demon,
Come tho da castigar. how can I punish you?
Maritati schiaffeggiati, Battered husbands,
Se qui a caso alcun ven ha, if there are any here,
Dite voi che lo sapete tell me that you know
Se siam degni di piet. if we are worthy of pity.
LORENZO DA PONTE (1749 1838)

NB: Da Ponte plays with mixing Italian and Spanish. He interpolates into the Italian text entire verses in Spanish (given
here in italics), but misspells words that are similar in both languages; hence sopportar (Italian) instead of soportar
(Spanish), infierno (Spanish) instead of inferno (Italian), and the Italian-like spellings of Cuciliada and pugnalada
(rather than the Spanish Cuchiliada and pualada).


Rivolgete a lui lo sguardo K584 discarded aria from Cos fan tutte, K588, Act 1 (Vienna, 1790)
4 GUGLIELMO Rivolgete a lui lo sguardo GUGLIELMO Turn your gaze upon him
E vedrete come sta: and you will see how it stands:
Tutto dice io gelo, io ardo; his body says clearly: I freeze, I burn;
Idol mio, piet piet. my idol, have pity, have pity.
E voi cara un sol momento And you, my dear, for just a moment
Il bel ciglio a me volgete, turn your lovely eyes on me,
E nel mio ritroverete and in mine you will discover
Quel che il labbro dir non sa. that which my lips cannot express.

Un Orlando innamorato An enamoured Roland
Non niente in mio confronto is as nought compared to me;
Un Medoro il sen piagato Medoro with his wounded breast
Verso lui per nulla io conto: I count as nothing next to him;
Son di foco i miei sospiri, my sighs are as hot as fire,
Son di bronzo i suoi desiri. his desires are hard and cold like bronze.
Se si parla poi di merto If one then speaks of merit,
Certo io sono, ed egli certo, I am sure, and so is he,
Che gli uguali non si trovano that our equal cannot be found
Da Vienna al Canad. from Vienna to Canada.
Siam due Cresi per ricchezza, In wealth we are both like Croesus,
Due Narcisi per bellezza, in beauty, like Narcissus;
In amor i Marcantoni in love, even Mark Antony
Verso noi sarien buffoni would be a buffoon compared to us.
Siam pi forti dun Ciclopo, We are stronger than a Cyclops,
Letterati al par di Esopo, as scholarly as Aesop;
Se balliamo un Pich ne cede if we dance, a Pique would yield,
Si gentil, e snello il piede: so delicate, so slender are our feet.
Se cantiam col trillo solo If we sing, with a single trill
Facciam torto all uscignuolo; we outshine the nightingale;
E qualchaltro capitale and we have some other assets
Abbiam poi che alcun non sa. which no one knows about.
(Bella, bella, tengon sodo: (Lovely, lovely, they are holding firm:
Se ne vanno, ed io ne godo; they are leaving, and I am glad of it;
Eroine di costanza, heroines of constancy,
Specchi son di fedelt.) they are paragons of faithfulness.)
LORENZO DA PONTE (1749 1838)


Donne mie, la fate a tanti from Cos fan tutte, K588, Act 2 (Vienna, 1790)
5 GUGLIELMO Donne mie, la fate a tanti, GUGLIELMO My ladies, you fool so many men,
Che, se il ver vi deggio dir, that, to tell the truth,
Se si lagnano gli amanti when lovers complain about you
Li comincio a compatir. Ive begun to sympathize.

Io vo bene al sesso vostro, I think the world of womankind,
Lo sapete, ognun lo sa: you know that, everyone does.
Ogni giorno ve lo mostro, Every day I show you
Vido segno damista. proof of my friendship.
Ma quel farla a tanti e tanti But the way you play with so many men
Mavvilisce in verit. repulses me to tell the truth.
Mille volte il brando presi Ive taken up the cudgels
Per salvar il vostro onor. a thousand times to protect your honour.
Mille volte vi difesi, A thousand times Ive defended you
Colla bocca e pi col cor. with my words and even more with my heart.
Ma quel farla a tanti e tanti But the way you play with so many men
un vizietto seccator. is a tiresome vice.
Siete vaghe, siete amabili, You are pretty and lovable,
Pi tesori il ciel vi di, with many gifts from heaven,
E le grazie vi circondano you are girded with charms
Dalla testa sino ai pi. from head to foot.
Ma la fate a tanti e tanti But you play with so many men
Che credibile non . that its beyond belief.
Che se gridano gli amanti If lovers complain
Hanno certo un gran perch. they most certainly have good reason.
LORENZO DA PONTE (1749 1838)


In quegli anni from Una cosa rara, Act 1 Scene 12 (Vienna, 1786)
6 TITA In quegli anni in cui solea TITA In those years when I used
Ir le capre a pascolar, to take the goats to pasture,
Mio bisnonno mi dicea, my great-grandfather, a man
Chera un uomo daltro affar: of a different stripe, used to say:
Figlio mio, la donna foco, My son, women are like fire,
Guarda ben, non taccostar. be on your guard, stay well away.
Io ripien de detti suoi I, mindful of his advice,
Per paura dabbruciarmi, for fear of being burnt,
Donne mie lontan da voi my ladies, I endeavoured
Procurava di restar. to keep away from you.
Ma un istinto naturale But a natural instinct
Super leducazion, overrode his teaching,
E trovai che male, male and I found that the old clown
Predicava quel buffon. had preached a pack of lies.

Qual farfalla, pian pianino, Like a moth, gently, gently
Pria cercai girarvi intorno: at first I fluttered round you;
Poi mi feci pi vicino then I moved in closer
Ed osai toccarvi un giorno, and one day dared to touch you,
E sentendo che la pelle and finding that your fingers
Delle dita tenerelle were soft and delicate,
Non abbrucia, ma diletta, not burning but pleasing to the touch,
Volli far per voi vendetta I decided to take up arms on your behalf
Con amarvi e rispettarvi by loving and respecting you
E con darvi questo cor. and giving you my heart.
Non credete? non credete? Dont you believe this? Dont you believe it?
Alle prove, o donne care, Ill prove it to you, beloved ladies,
Tutto, tutto io voglio fare I will do anything, anything at all
Per provarvi un vero amor. to prove that my love is true.
LORENZO DA PONTE (1749 1838)


7 Overture from Don Giovanni, K527 (Prague, 1787)


Eh consolatevi Madamina, il catalogo questo from Don Giovanni, K527, Act 1 (Vienna, 1788)
8 LEPORELLO Eh consolatevi; LEPORELLO Well, take it easy:
non siete voi, non foste, e non sarete you are not, were not, will not be
n la prima, n lultima; guardate the first or last. See here!
questo non picciol libro: tutto pieno This fair-sized tome is packed
dei nomi di sue belle; with the names of his lady-friends.
ogni villa, ogni borgo, ogni paese Every village, every town and every country
testimon di sue donnesche imprese. bears witness to his deeds of dalliance.
9 LEPORELLO Madamina, il catalogo questo LEPORELLO Little lady, this is the record
Delle belle che am il padron mio, of the beauties my master has loved;
Un catalogo egli che ho fattio, tis a catalogue that I myself compiled.
Osservate, leggete con me. Come closer, read it with me.
In Italia seicento e quaranta, In Italy six hundred and forty,
In Lamagna duecento e trentuna, in Germany two hundred and thirty-one,
Cento in Francia, in Turchia novantuna, one hundred in France, in Turkey ninety-one,
Ma in Ispagna son gi mille e tre. but in Spainso farone thousand and three.

Vhan fra queste contadine, Here are country wenches,
Cameriere e cittadine, chambermaids and city ladies,
Vhan contesse, baronesse, countesses, baronesses,
Marchesane, principesse, marchionesses, princesses,
E vhan donne dogni grado, there are women of every social class,
Dogni forma, dogni et. every shape and every age.
Nella bionda egli ha lusanza With a fair-haired girl his habit
Di lodar la gentilezza, is to praise her kindliness,
Nella bruna la costanza, a brunette is always constant,
Nella bianca la dolcezza. a blonde is always sweet.
Vuol dinverno la grassotta, In winter he likes plumpish girls,
Vuol destate la magrotta; in summer slender ones;
la grande maestosa, tall ones he calls majestic,
La piccina ognor vezzosa short ones always dainty
Delle vecchie fa conquista, He seduces older women
Pel piacer di porle in lista; just to add them to his list;
Ma passion predominante but his ruling passion
la giovin principiante. is for the young beginner.
Non si picca se sia ricca, He doesnt give a hoot for wealth,
Se sia brutta, se sia bella: or ugliness or beauty;
Purch porti la gonnella, provided that she wears a skirt,
Voi sapete quel che fa. you know what hell do!
LORENZO DA PONTE (1749 1838)


Idol vano dun popol codardo from Axur, re dOrmus, Act 5 Scene 1 (Vienna, 1788)
bl AXUR Idol vano dun popol codardo, AXUR Vain idol of a lily-livered people,
S odioso al mio cor, al mio sguardo; so hateful to my heart and to my sight,
Ho pur vinto, morir ti vedr! although Ive won, Ive yet to see you die!
Ah checcesso di gioia in me sento Ah, what excess of joy I feel
Nel pensare che giusto divento thinking that I shall be justified
Nel momento che ucciderti fo! the moment I strike you dead!
LORENZO DA PONTE (1749 1838)

GIUSEPPE SARTI (1729 1802)
Oime! che innanzi agli occhi Penso, che per morire from I contrattempi, Act 2 Scene 12 (Venice, 1778)
bm FRASCONIO Oime! che innanzi agli occhi FRASCONIO Alas! Before my very eyes
parmi veder la morte, death seems to have appeared,
che con ladunca falce mi si vuole avventar. threatening me with his scythe.
Fermati ah lascia Stop! Ah, hold your hand
da me muccider. Ill do the deed myself.
Ma poi ah gelo nel solo pensarlo! But then Ah, the very thought makes my blood run cold!
Eppur converr farlo! Yet it must be done!
Ma chi lo dice? But who says so?
Oime! Giunta lora fatal! Ebben si mora Alas! The fatal hour has come! So I shall die,
e si mora da forte qual Catone, but die resolutely, like Cato,
ora non sidura chio son Poltrone. it shall not be said that I am a coward.
bn FRASCONIO Penso, che per morire FRASCONIO Im thinking that to kill oneself
Ci vuol tre cose almeno one needs at least three things:
Un ferro, od un Veleno, a blade or poison,
Coraggio e volont. courage and willpower.
Il ferro non mi manca, The blade I have,
Coraggio ne ho di troppo of courage more than enough,
Ma nasce un bellintoppo, but theres a stumbling-block:
Manca la volont. the willpower is lacking.
Coraggio da Leone Brave as a lion,
Muccido; o non muccido; Ill kill myself or not:
meglio esser poltrone Its better to be a coward,
meglio di campar. its better to stay alive.
Si mora il passo duro! To die Its a drastic step!
Coraggio. Amici, addio, Be brave! My friends, farewell.
Addio Frasconio mio Farewell, dear Frasconio,
Gi sento replicar. I hear them reply.
Ecco Frasconio morto. So Frasconio is dead
morto un cavolo il mio Bisavolo, Dead? A fig for the ancestors,
Sen vada tutto al Diavolo, may they all go to the devil,
Mi voglio conservar. I want to keep myself alive.
La pancia per i fichi My stomach I intend
Io penso di salvar. to save for figs.
NUNZIATO PORTA (fl 1770 after 1790)

bo Overture from Le nozze di Figaro, K492 (Vienna, 1786)


Bravo, signor padrone! Se vuol ballare from Le nozze di Figaro, K492, Act 1 Scene 2 (Vienna, 1786)
bp FIGARO Bravo, signor padrone! FIGARO Bravo, my noble lord!
Ora incomincio a capir il mistero, Now I begin to understand the mystery
e a veder schietto and see your whole plan
tutto il vostro progetto! very clearly!
A Londra, vero? To London, eh?
Voi ministro, io corriero, You as minister, I as courier,
e la Susanna segreta ambasciatrice! and Susanna as confidential attache.
Non sar, non sarFigaro il dice! It will never happen: I, Figaro, say so!
bq FIGARO Se vuol ballare, signor contino, FIGARO If you would dance, my noble lordling,
Il chitarrino le suoner, s. tis I will call the tune, oh yes!
Se vuol venire nella mia scuola, Come if you will into my school,
La capriola le insegner, s. Ill teach you to cut capers, oh yes!
Sapr, ma piano, meglio ogni arcano I know the way, but wait: every secret
Dissimulando scoprir potr. can be uncovered better by deception.
Larte schermendo, larte adoprando, Parrying with skill, using the art,
Di qu pungendo, di l scherzando, now thrusting, now feinting,
Tutte le macchine rovescier. I shall upset all his intrigues.
LORENZO DA PONTE (1749 1838)


Tutto disposto Aprite un po quegli occhi from Le nozze di Figaro, K492, Act 4 Scene 8 (Vienna, 1786)
br FIGARO Tutto disposto: FIGARO All is now ready:
lora dovrebbe esser vicina; the hour must be at hand;
io sento gente dessa! I hear footsteps It is she!
Non alcun; No, theres no one there
buia la notte the night is dark
ed io comincio omai a fare and now I begin to assume
il scimunito mestiero di marito. the foolish role of husband.
Ingrata! Ungrateful wench!

Nel momento della mia cerimonia During my actual wedding ceremony,
ei godeva leggendo: he smiled as he read the note:
e nel vederlo io rideva and watching him I laughed
di me senza saperlo. unknowingly at myself!
Oh Susanna! Susanna! O Susanna! Susanna!
Quanta pena mi costi! How you make me suffer!
Con quellingenua faccia, Seeing that childlike face,
con quelgli occhi innocenti, those seemingly guileless eyes,
chi creduto lavria? Ah! who would have believed it?
Che il fidarsi a donna, ognor follia. Ah! To have faith in a woman is always sheer folly.
bs FIGARO Aprite un po quegli occhi, FIGARO Open your eyes for a moment,
Uomini incauti e sciocchi, you rash and foolish men,
Guardate queste femmine, look upon these women,
Guardate cosa son! see them for what they are!
Queste chiamate dee Your senses enthralled,
Dagli ingannati sensi, you call them goddesses
A cui tributa incensi to whom feeble reason
La debole ragion. says tribute is due.
Son streghe che incantano Theyre witches enchanting us
Per farci penar, just to cause grief,
Sirene che cantano sirens who lure us
Per farci affogar, to watery death,
Civette che allettano coquettes who beguile us
Per trarci le piume, to pluck our fine plumage,
Comete che brillano comets that dazzle
Per toglierci il lume. to outdo our light.
Son rose spinose Theyre roses with prickles,
Son volpi vezzose; vixens who charm us,
Son orse benigne, she-bears who tend us,
Colombe maligne, doves who would rend us,
Maestre dinganni, expert deceivers,
Amiche daffanni, cronies of care,
Che fingono, mentono, they cheat and they lie,
Amore non senton, they cannot feel love,
Non senton piet, they feel no compassion.
No, no, no, no no! No, no, no, no, no!
Il resto no dico, Ill say no more,
Gi ognuno lo sa. the rest you all know.
LORENZO DA PONTE (1749 1838)

Ehi, sor paggio! Non pi andrai from Le nozze di Figaro, K492, Act 1 Scene 8, with alternative recitative (Vienna, 1786)
bt FIGARO Ehi, sor paggio! FIGARO Ah, milord the page!
Oh, perdoni: sbagliai. Sor capitano! Oh, forgive me: my mistake. Milord the captain!
Ora si cangia la sua paggeria Your status as page has now mutated
in uffiziale di cavelleria. into that of cavalry officer.
Oh, che bel militare! Oh what a fine military man!
Gran figura vuol fare, What a fine figure he would cut,
sbarbato, profumato e disinvolto. clean-shaven, perfumed and jaunty.
Ma a quel leggiadro volto But that pretty face now needs
or convien cera brusca ed occhio fiero: a haughty expression and a rolling eye.
non sei pi Ganimede, or sei guerriero! A ladies man no more, youre now a warrior!
bu FIGARO Non pi andrai, farfallone amoroso, FIGARO No more will you go, like an amorous moth,
Notte e giorno dintorno girando, night and day flitting here, flitting there,
Delle belle turbando il riposo, disturbing the ladies beauty sleep,
Narcisetto, Adoncino damor. narcissistic young Adonis of love.
Non pi avrai questi bei penacchini, Youll be shorne of those fine plumes,
Quel cappello leggiero e galante, will lose your cap so gay and jaunty,
Quella chioma, quellaria brillante, your flowing locks, that dashing air,
Quel vermiglio donnesco color! cheeks as pink as any girls!
Fra guerrieri, poffar Bacco! One of the soldiers now, by Jove!
Gran mustacchi, stretto sacco, Bushy moustache, tight-fitting tunic,
Schioppo in spalla, sciabla al fianco, rifle on shoulder, sabre on hip,
Collo dritto, muso franco, head held high, bold expression,
Un gran casco, o un gran turbante, big helmet or a lofty turban,
Molto onor, poco contante. lots of glory, little cash.
Ed in vece del fandango Instead of dancing the fandango
Una marcia per il fango. youll be marching through the mud,
Per montagne, per valloni, over mountains, through deep valleys,
Con le nevi, e i solioni, chilled by snow and scorched by sun,
Al concerto di tromboni, to an orchestra of blunderbusses,
Di bombarde, di cannoni, bombards, cannonades,
Che le palle in tutti i tuoni, thundering with a mighty roar
Allorecchio fan fischiar. as bullets whistle past your ears.
Cherubino, alla vittoria! Cherubino, on to victory!
Alla gloria militar! On to glory in the field!
LORENZO DA PONTE (1749 1838)

Il core vi dono from Cos fan tutte, K588, Act 2 (Vienna, 1790)
cl GUGLIELMO Il core vi dono, bellidolo mio; GUGLIELMO My heart is yours, fair goddess;
Ma il vostro vo anchio, via datelo a me. but I want yours, come, give it to me.
DORABELLA Mel date lo prendo, ma il mio non vi rendo, DORABELLA You give it, I take it, but mine I will not surrender,
Invan mel chiedete, pi meco ei non . you ask in vain, it is no longer mine.
GUGLIELMO Se teco non lhai perch batte qui? GUGLIELMO If you do not have it, why does it beat here?
DORABELLA Se a me tu lo dai che mai balza l? DORABELLA If you give me yours, what is throbbing there?
GUGLIELMO Perch batte, batte, batte qui? GUGLIELMO Why this beating, beating, beating here?
DORABELLA Che mai balza, balza, balza l? DORABELLA Whatever is throbbing, throbbing, throbbing there?
DORABELLA, GUGLIELMO il mio coricino DORABELLA, GUGLIELMO Its my poor little heart
Che pi non meco, thats no longer mine,
Ei venne a star teco, ei batte cos. it went over to you, and is beating like this.
GUGLIELMO Qui lascia che il metta. GUGLIELMO Let me put it here.
DORABELLA Ei qui non pu star. DORABELLA It cannot stay here.
GUGLIELMO Tintendo, furbetta. GUGLIELMO I know what youre up to, you little rogue!
DORABELLA Che fai? DORABELLA What are you doing?
GUGLIELMO Non guardar. GUGLIELMO Dont look.
DORABELLA (Nel petto un Vesuvio damore mi par.) DORABELLA (My breast is a volcano of love.)
GUGLIELMO (Ferrando meschino, possibil non par.) GUGLIELMO (Poor Ferrando, I dont believe this!)
Lochietto a me gira. The little goose is seducing me!
DORABELLA Che brami? DORABELLA What do you want to do?
GUGLIELMO Rimira, rimira, se meglio pu andar. GUGLIELMO Well I never, it could hardly have gone better!
DORABELLA, GUGLIELMO Oh cambio felice di cori e daffetti, DORABELLA, GUGLIELMO Oh happy exchange of hearts and affections,
Che nuovi diletti, che dolce penar! new delights, what sweet pain!
LORENZO DA PONTE (1749 1838)

Restati qu! Per queste tue manine K540b, interpolated aria (Vienna, 1788) from Don Giovanni, K527
cm ZERLINA Restati qua! ZERLINA You stay here!
LEPORELLO Per carit, Zerlina! LEPORELLO For heavens sake, Zerlina!
ZERLINA Eh! non c carit pei pari tuoi. ZERLINA Theres no mercy for men like you.
LEPORELLO Dunque cavar mi vuoi? LEPORELLO So would you tear me apart?
ZERLINA I capelli, la testa, il cor e gli occhi! ZERLINA Your hair, your head, your heart and your eyes!
LEPORELLO Senti, carina mia! LEPORELLO Listen, my dear young lady!
ZERLINA Guai se mi tocchi! ZERLINA Dont touch me or else!
Vedrai, schiuma de birbi, Youll see, scum of all knaves,
qual premio nha chi le ragazze ingiuria. what awaits those who insult young girls.
LEPORELLO (Liberatemi, o Dei, da questa furia!) LEPORELLO (Rescue me, O Gods, from this fury!)
ZERLINA Masetto, ol, Masetto! ZERLINA Masetto, Masetto!
Dove diavolo ito? Servi! Gente! Where the devil is he? Servants! People!
Nessun vien, nessun sente. Nobodys coming, nobodys heard.
LEPORELLO Fa piano, per piet! Non trascinarmi LEPORELLO Easy, for pitys sake! Dont drag me
a coda di cavallo! like a sack of grain!
ZERLINA Vedrai, vedrai come finisce il ballo! ZERLINA Youll see what finale Ive planned!
Presto qua quella sedia! Look sharp, bring me that chair!
LEPORELLO Stanco non son. LEPORELLO Im not tired.
ZERLINA Siedi, o con queste mani ti strappo ZERLINA Sit, or with my own hands Ill tear out
il cor e poi lo getto ai cani. your heart and throw it to the dogs.
LEPORELLO Siedo, ma tu, di grazia, LEPORELLO Im sitting, but will you please
metti gi quel rasoio put down that razor.
mi vuoi forse sbarbar? Do you intend to shave me?
ZERLINA S, mascalzone! ZERLINA Yes, you villain!
Io sbarbare ti vo senza sapone. Im going to shave you without soap.
LEPORELLO Eterni Dei! LEPORELLO Eternal gods!
ZERLINA Dammi la man! ZERLINA Give me your hand!

ZERLINA Laltra! ZERLINA Now the other one!
LEPORELLO Ma che vuoi farmi? LEPORELLO What are you going to do to me?
ZERLINA Voglio far voglio far ZERLINA I shall do I shall do
quello che parmi! whatever I like!
cn LEPORELLO Per queste tue manine LEPORELLO Thinking of these little hands of yours
Candide e tenerelle, so white and soft,
Per questa fresca pelle, thinking of your fresh young face,
Abbi piet di me! have pity on me!
ZERLINA Non v piet, briccone; ZERLINA I feel no pity, scoundrel;
Son una tigre irata, I am an angry tiger,
Un aspide, un leone. an asp, a lion.
No, no, non v piet. No, no, I feel no pity for you.
LEPORELLO Ah! Di fuggir si provi! LEPORELLO Oh! I must try to escape!
ZERLINA Sei morto se ti movi! ZERLINA Move and youre dead!
LEPORELLO Barbari, ingiusti Dei! LEPORELLO Cruel, unjust gods!
In mano di costei chi capitar mi fe? Who let me fall into her hands?
ZERLINA Barbaro traditore! ZERLINA Shameless deceiver!
Del tuo padrone il core avessi qui con te! If only I had your masters heart here as well as you!
LEPORELLO Deh! non mi stringer tanto, LEPORELLO Hey! Dont tie me so tight;
Lanima mia sen va! Im starting to feel faint!
ZERLINA Sen vada, sen vada o resti, ZERLINA Faint or stay conscious, whatever,
Intanto non partirai di qua! you wont get away from here!
LEPORELLO Che strette, o Dei, che botte! LEPORELLO Such tight knots, O gods, what a disaster!
E giorno, ovver notte? Is it day, or night?
Che scosse di tremuoto! What shocks as of an earthquake!
Che buia oscurit! What dark obscurity!
ZERLINA Di gioia e di diletto ZERLINA I feel my heart a-quiver
Sento brillarmi il petto. with joy and satisfaction.
Cos, cos, cogli uomini, This is the way to deal with men,
Cos, cos si fa! this is how its done!
LORENZO DA PONTE (1749 1838)

English translations by Avril Bardoni

British bass Matthew Rose studied at the Curtis Institute with Sir Andrew Davis, Jir Belohlvek and Marc Minkowski;

of Music before becoming a member of the Young Artist the LPO with Yannick Nzet-Sguin; LOrchestre Rvolution-
Programme at the Royal Opera House, Covent Garden. In naire et Romantique with Sir John Eliot Gardiner; the
2006 he made an acclaimed debut at the Glyndebourne Boston Symphony Orchestra with Charles Dutoit; and the
Festival as Bottom in A Midsummer Nights Dreamfor Accademia Nazionale di Santa Cecilia with Sir Antonio
which he received the John Christie Awardand has since Pappano.
sung the role at La Scala, Covent Garden, Opra National de Matthew Roses recital appearances include the Brighton,
Lyon, Houston Grand Opera and at the Metropolitan Opera, Chester and Cheltenham international festivals, and at the
New York. He has sung Talbot (Maria Stuarda) and Colline Concertgebouw in Amsterdam, Londons Wigmore Hall, and
(La bohme) for the Metropolitan Opera; Sparafucile the Kennedy Center, Washington.
(Rigoletto), Sarastro (Die Zauberflte) and Talbot at Covent Already a prolific recording artist his recordings include
Garden; Leporello (Don Giovanni), Nick Shadow (The a critically acclaimed Winterreise with pianist Gary Matthew-
Rakes Progress), Callistene (Poliuto) and Collatinus (The man and Schwanengesang with Malcolm Martineau; Walter
Rape of Lucretia) at Glyndebourne Festival; Claggart (Billy (Guillaume Tell) and Der Steuermann (Tristan und Isolde)
Budd) at English National Opera; Mozarts Figaro for Welsh with Pappano; Ratcliffe (Billy Budd, winner of a Grammy
National Opera, Opra de Lille, and the Bayerische Award) with Harding; bel canto arias with Natalie Dessay
Staatsoper, Munich; Leporello at the Deutsche Oper, Berlin; and Evelino Pid; Handels Messiah with Stephen Cleobury
and Henry VIII (Anna Bolena) at Opra National de and the Choir of Kings College, Cambridge; Tippetts A Child
Bordeaux. of our Time and Berliozs Lenfance du Christ with Sir Colin
In concert he has appeared at the Edinburgh Festival, Davis; and Liszt Lieder with Iain Burnside. His roles on DVD
BBC Proms and the Mostly Mozart Festival in New York. His include Nick Shadow (The Rakes Progress) and Mr Flint
engagements include the LSO with Sir Colin Davis, Daniel (Billy Budd) from Glyndebourne, and Polyphemus (Acis
Harding and Michael Tilson Thomas; the Los Angeles Phil- and Galatea) from Covent Garden.
harmonic with Gustavo Dudamel; the Dresden Staatskapelle This is Matthew Roses first recording for Hyperion.
with Sir Charles Mackerras; the BBC Symphony Orchestra

Jonathan Cohen is one of Britains finest young musicians.
He has forged a remarkable career with notable success as
a conductor, cellist and keyboardist. He is well known for
his passion and commitment to chamber music which he
expands to diverse activities such as Baroque opera and
the Classical symphonic repertoire. He is the Artistic Director
of Arcangelo, Associate Conductor of Les Arts Florissants and
Artistic Director of the Tetbury Music Festival.
Alongside his busy guest conducting career, Jonathan
directs his own ensemble Arcangelo with whom he performs
regularly throughout Europe at some of the most highly
regarded festivals and concert halls. Jonathan and Arcangelo
have recorded a wide range of music, from Porpora and
Handel to Gluck and Mozart, including albums for Hyperion
with soloists Iestyn Davies and Christopher Purves.
After finishing his studies at Clare College, Cambridge,
Jonathan began his career establishing himself as a cellist.
He performed as guest principal with many of the UKs
foremost orchestras and ensembles, both symphonic
and historical. With this experience Jonathan developed
a unique crossover specialism in the field of early music

Marco Borggreve
and an interest in period instruments. He was a founder
member of The London Haydn Quartet, and continues
to cherish performing chamber music with friends and

Arcangelo brings together some of the worlds finest musicians who excel on both historical and modern
instruments under the direction of their founder, artistic director and conductor Jonathan Cohen. Its players
believe that the collaboration required in chamber music is the highest expression of what it means to make
music, and Arcangelo attracts an outstanding calibre of performers who already have flourishing solo and
chamber music careers. These are performers of dazzling technical ability, but they also have a passion for
faithful interpretation that goes far beyond historical understanding.

violin 1 Matthew Truscott (leader), Kati Debretzeni, Michael Gurevich, Ken Aiso, Iona Davies, Meret Lthi
violin 2 Cecilia Bernardini (principal), Johannes Pramsohler, Marcus Barcham-Stevens, Roy Mowatt, James Toll
viola James Boyd (principal), Rebecca Jones, Aliye Cornish, Emma Alter
cello Piroska Baranyay (principal), Sarah McMahon, Andrew Skidmore
double bass Tim Amherst (principal), Alexandra Scott, Cecilia Bruggemeyer (tracks 1 & 6 )
flute Rachel Brown, Katy Bircher oboe Xenia Lffler, Frances Norbury
clarinet Jane Booth, Sarah Smith bassoon Peter Whelan, Philip Turbett
French horn Roger Montgomery, Martin Lawrence trumpet Neil Brough, Paul Sharp
timpani Alan Emslie keyboard Steven Devine
chorus (track 2 )
tenor David De Winter, Nicholas Madden
bass William Gaunt, Stephen Kennedy, Benjamin Lewis, Jon Stainsby
director Jonathan Cohen

Artistic Director: Jonathan Cohen

General Manager: Adam Swann
Head of Artistic Planning: David Clegg
Operations Manager: Paula Muldoon
Librarian: James Halliday
Trustees: Rosalyn Wilkinson (chair), Sir Michael Arthur, Rowland Barran, Alexandra Buck, Donagh Collins, Richard Jacques, David Rouch Twitter: @ArcangeloTeam

Arcangelo would like to thank a number of inspirational donors who have made this recording possible:
Julie Quadrio Curzio, Lydia Dorfmann, Noreen Doyle, David Gelber, Christopher Gibson-Smith
Jean Gomm, Gay Huey-Evans, Michael Jackson, Richard Jacques, Jeremy Miles, Kate ONeill
Ruth Rothbarth, William Stockler, Michael Webber, Michael Whittaker

Music editions prepared by James Halliday, with grateful thanks to Claudio Vellutini and Yu Chen Chiu
Critical edition of Mozarts Ehi, sor paggio! by Francesco Lora

Recorded in St Jude-on-the-Hill, Hampstead Garden Suburb, London, on 6, 7, 9 & 10 November 2013

Recording Engineer DAVID HINITT
Recording Producer ADRIAN PEACOCK
Booklet Editor TIM PARRY
Executive Producer SIMON PERRY
P & C Hyperion Records Ltd, London, MMXV
Front illustration: The Sense of Taste (c1744 7) by Philippe Mercier (16891760)
Yale Center for British Art, Paul Mellon Collection, USA / Bridgeman Images

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