festa italiana - Kansas City Symphony

2015/16 Season CLASSICAL SERIES
FESTA ITALIANA
Friday, Saturday and Sunday, October 23-25, 2015
MICHAEL STERN, conductor
KANSAS CITY SYMPHONY CHORUS
CHARLES BRUFFY, chorus director
ROSSINI
Overture to L’Italiana in Algeri
PUCCINI
Intermezzo sinfonico from Madama Butterfly
PUCCINI
“Coro a bocca chiusa” (Humming Chorus)
from Madama Butterfly
Kansas City Symphony Chorus
LEONCAVALLO “Andiam! Don, din don, suona vespero” (Bell Chorus)
from Pagliacci
Kansas City Symphony Chorus
PUCCINI
Intermezzo from Act III of Manon Lescaut
PUCCINI
“La tragenda” from Le villi
VERDI
“Di Madride noi siam mattadori” (Matador’s Chorus)
from La traviata
Kansas City Symphony Chorus
VERDI
“Zitti, Zitti” from Rigoletto
Men from the Kansas City Symphony Chorus
VERDI
“Vedi! le fosche notturne” (Anvil Chorus)
from Il trovatore
Kansas City Symphony Chorus
INTERMISSION
continued on page 41
Podcast available at kcsymphony.org
KANSAS CITY SYMPHONY
39
ALL OUR VETERANS!
KCSG proudly salutes
the
11
2015
november
SAVE
DATE
WEDNESDAY
10:00 am - 8:00 pm
$15 IN ADVANCE
$20 AT THE DOOR
HOMES
NOTE2015
FOR
KANSAS CITY NORTH’S
PREMIER
HOLIDAY HOMES TOUR
of
Presented by Kansas City Symphony Guild
Tour three beautifully decorated homes
in Staley Farms Golf Community
For complete details, visit:
www.kcsymphonyguild.org
All Proceeds Benefit
(Located In Kansas City, North)
and shop the Holiday Boutique
at the Staley Farms Clubhouse!
2015/16 Season CLASSICAL SERIES
FESTA ITALIANA cont.
Friday, Saturday and Sunday, October 23-25, 2015
MICHAEL STERN, conductor
KANSAS CITY SYMPHONY CHORUS
CHARLES BRUFFY, chorus director
VERDI
Overture to Nabucco
VERDI
“Va, pensiero” (Chorus of the Hebrew Slaves) from Nabucco
Kansas City Symphony Chorus
VERDI
“Patria oppressa!” (Chorus of the Scottish Refugees)
from Macbeth
Kansas City Symphony Chorus
PUCCINI
Capriccio sinfonico
MASCAGNI
“Regina coeli” (Easter Hymn) from Cavalleria rusticana
Kansas City Symphony Chorus
MASCAGNI
Intermezzo from Cavalleria rusticana
VERDI
“Gloria all’Egitto” from Aida
Kansas City Symphony Chorus
The 2015/16 season is generously sponsored by
The Classical Series is sponsored by
SHIRLEY and BARNETT C. HELZBERG, JR.
Additional support provided by
Podcast available at kcsymphony.org
KANSAS CITY SYMPHONY
41
Kansas City Symphony
PROGRAM NOTES by Ken Meltzer
Gioachino Rossini
Giacomo Puccini
Ruggiero Leoncavallo
CONCERT OVERVIEW
The spotlight in Italian opera is most often focused upon the
divas and divos — the great solo female and male singers. But
Italian opera composers have long understood that the chorus and
orchestra form the musical and dramatic foundation for their works.
This program, spanning almost a century of Italian opera from
the bel canto to verismo eras, celebrates that long and rich heritage.
GIOACHINO ROSSINI (1792-1868)
Overture to L’italiana in Algeri (1813) 8 minutes
One of Rossini’s first great successes, the comic opera The
Italian Girl in Algiers tells the story of Isabella, an independent
young Italian woman who tames Mustafà, the fearsome bey of
Algiers. After the triumphant May 22, 1813, premiere in Venice,
Rossini commented: “Now I am happy. The Venetians are madder
than I am.” The opera’s sparkling overture, also a fixture in the
concert hall, sets the stage for the comic intrigue soon to follow.
Recommended Recording
ROSSINI: Overture to L’italiana in Algeri
Chamber Orchestra of Europe / Claudio Abbado, conducting
Label: Deutsche Grammophon Catalog # 431653
42 2015/16 Season
GIACOMO PUCCINI (1858-1924)
Intermezzo sinfonico and “Coro a bocca chiusa”
from Madama Butterfly (1904) 10 minutes
Giacomo Puccini’s Madama Butterfly, based upon a play by David
Belasco, concerns an innocent young Japanese geisha and her illfated marriage to an American naval officer. Although the February
17, 1904, premiere at La Scala was a failure, Madama Butterfly soon
became one of Puccini’s most beloved operas, and Cio-Cio-San
(Madame Butterfly) one of his most tragic and compelling heroines.
The orchestral intermezzo, depicting sunrise over Nagasaki Bay,
launches the opera’s final act. The beautiful wordless “Humming
Chorus,” which takes place at nightfall, concludes the previous act.
Sound that embraces you, music that inspires you
2015/16 Season
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RUGGIERO LEONCAVALLO (1857-1919)
“Andiam! Don din don, suona vespero” from Pagliacci (1892)
3 minutes
Along with Pietro Mascagni’s Cavalleria rusticana (1890)
(see below), Ruggiero Leoncavallo’s one-act opera Pagliacci
(The Clowns) launched opera’s verismo movement, an attempt
to inject greater realism onto the operatic stage. Pagliacci tells
the story of a leader of a group of traveling players who learns
that his wife is having an affair. He then murders her on stage,
during a performance of a Punch and Judy comedy. Early in
the opera, the villagers greet the sound of church bells.
“Andiam! Don din don, suona vespero” from Pagliacci
Text by Ruggiero Leoncavallo
Andiam! Andiam!
Don, din don — suona vespero,
Ragazze e garzon,
A coppie al tempio
Ci affrettiam, din don!
Diggià i culmini il sol
Vuol baciar.
Le mamme ci adocchiano,
Attenti, compar!
Tutto irradiasi
Di luce e d’amor!
Ma i vecchi sorvegliano
Gli arditi amator!
Don, din don — suona vespero,
Ragazze e garzon.
Let’s go! Let’s go!
Ding dong — the vespers sound,
girls and boys,
quickly, couples
go to church, ding dong!
The sun already wants
to kiss the heights.
Your mothers are watching you,
beware, friend!
Everything is radiant
with light and love!
But the old people oversee
the ardent lovers!
Ding dong — the vespers sound,
girls and boys.
Helzberg Hall will be filled with the sounds of the Kansas City
Symphony Chorus again over the holidays in Handel’s Messiah and
Christmas Festival. Visit kcsymphony.org for concert details.
KANSAS CITY SYMPHONY
45
GIACOMO PUCCINI (1858-1924)
Intermezzo from Act III of Manon Lescaut (1893) 5 minutes
From the start of his career, Giacomo Puccini appreciated the
importance a rich orchestral score played in the operatic narrative.
Puccini’s first great success, Manon Lescaut, is based upon the novel
by Abbé Prévost. In 1884, French composer Jules Massenet had
scored a triumph with his adaptation of the Manon story. Puccini
was undeterred: “Massenet feels it as a Frenchman with the powder
and the minuets; I shall feel it as an Italian, with desperate passion.”
That “desperate passion” is evident in the orchestral intermezzo
preceding Manon’s deportation to the Americas in act III.
“La tragenda” from Le villi (1884) 4 minutes
A decade before Manon Lescaut, Puccini composed his first opera,
Le villi. The story, perhaps based upon Slavic legend, concerns a
young man who betrays his lover. She dies of grief, only to return
as one of the ghosts (Willis) to gain her revenge. The intermezzo
from Le villi (“La tragenda”) portrays the witches’ vengeful dance.
GIUSEPPE VERDI (1813-1901)
“Di Madride noi siam mattadori”
from La traviata (1853) 3 minutes
One of Verdi’s most beloved operas,
La traviata was a failure at its 1853
premiere in Venice. As Verdi reported:
“La traviata was a fiasco; my fault or the
singers? Time alone will tell.” Verdi’s
opera based upon Alexandre Dumas the
Younger’s The Lady of the Camellias would
go on to earn the affection of audiences and performers alike.
The opera’s heroine, the courtesan Violetta Valéry, attends a party
at a friend’s Paris home. The guests are entertained by women dressed
as gypsies, and men dressed as Spanish matadors and picadors.
KANSAS CITY SYMPHONY
47
Kansas City Symphony
PROGRAM NOTES by Ken Meltzer
“Di Madride noi siam mattadori” from La traviata
Text by Francesco Maria Piave
Gastone and the Matadors
Di Madride noi siam mattadori,
Siamo i prodi del circo dei tori,
Testè giunti a godere del chiasso
Che a Parigi si fa pel Bue grasso;
E una storia, se udire vorrete,
Quali amanti noi siamo saprete.
We are the matadors of Madrid,
we are the heroes of the bullring,
we just arrived in Paris
to enjoy the feasting before Lent;
and if you want to hear, we have a story,
about what lovers we are.
The Others
Sì, sì, bravi; narrate, narrate;
Con piacere l’udremo.
Yes, brave ones, tell your story;
we will listen with pleasure.
Gastone and the Matadors
Ascoltate.
È Piquillo un bel gagliardo
Biscaglino matador;
Forte il braccio, fiero il guardo,
Delle giostre egli è signor.
D’Andalusa giovinetta
Follemente innamorò;
Ma la bella ritrosetta
Così al giovane parlò:
“Cinque tori in un sol giorno
Vo’ vederti ad atterrar;
E, se vinci, al tuo ritorno
Mano e cor ti vo’ donar.”
“Sì,” gli disse, e il mattadore,
Alle giostre mosse il piè;
Cinque tori, vincitore
Sull’arena egli stendè.
48 2015/16 Season
Listen.
Piquillo is a strong young man
a matador from Biscay;
his arm is strong, his glance is proud,
in a fight, he is master.
He fell madly in love
with an Andalusian maiden;
but the beautiful shy girl
said this to the young man;
“I want to see you battle
five bulls in a single day;
and if you win, at your return
I will give you my hand and heart.”
“Yes,” said the matador,
and off he went to the battle;
he was victorious over five bulls;
they lay in the arena.
The Others
Bravo il mattadore,
Ben gagliardo si mostrò
Se alla giovane l’amore
In tal guisa egli provò!
Bravo to the matador,
he showed himself to be strong
and in such a way
he proved his love to the young girl!
Gastone and the Matadors
Poi, tra plausi, ritornato
Alla bella del suo cor,
Colse il premio desiato
Tra le braccia dell’amor.
Then, with applause, he returned
to the beautiful one of his heart,
and received the award he desired
in the arms of his beloved.
The Others
Con tal prove i mattadori
San le belle conquistar!
This is evidence that the matadors
know how to conquer their sweethearts!
Gastone and the Matadors
Ma qui son più miti i cori;
A noi basta folleggiar.
But here hearts are milder;
we only need to be happy.
All
Sì, allegri, or pria tentiamo
Della sorte il vario umor.
La palestra dischiudiamo
Agli audaci giocator.
Yes, happily let us tempt
fate’s changing humor.
Let games of chance reveal
the boldest gambler.
Enjoy more of the Kansas City Symphony Chorus at the
Symphony Chorus in Concert performance May 15, 2016, and
again June 16-19, 2016, at our Season Finale: Beethoven’s Ninth.
Visit kcsymphony.org for concert details.
KANSAS CITY SYMPHONY
49
Kansas City Symphony
PROGRAM NOTES by Ken Meltzer
“Zitti, Zitti” from Rigoletto (1851) 2 minutes
Verdi’s Rigoletto is based upon Victor Hugo’s controversial
play, The King Amuses Himself. Verdi was immediately drawn to the
character of the hunchbacked court jester Rigoletto (Triboulet,
in Hugo’s original work): “To me there is something really fine
in representing on stage this character outwardly so ugly and
ridiculous, inwardly so impassioned and full of love.” Indeed,
Rigoletto is one of Verdi’s most tragic and fascinating characters.
The courtiers of the Duke of Mantua trick Rigoletto into helping
them kidnap the jester’s daughter, Gilda (the courtiers think she is
Rigoletto’s mistress). In the scherzo-like chorus, “Zitti, Ziti,” the
courtiers rejoice in their impending revenge against Rigoletto.
“Zitti, Zitti” from Rigoletto
Text by Francesco Maria Piave
Zitti, zitti moviamo a vendetta:
Ne sia côlto or che meno l’aspetta.
Derisore sì audace costante,
A sua volta schernito sarà!...
Cheti, cheti, rubiamgli l’amante
E la Corte doman riderà.
Softly, softly, we approach vengeance:
and catch him when he least expects it.
The ever-bold mocker,
will, in turn, be mocked!…
With stealth, we’ll steal his mistress
and tomorrow, the court will laugh.
180,000
KANSAS CITY SYMPHONY fun fact
NUMBER of PEOPLE WHO ATTEND SYMPHONY CONCERTS in
HELZBERG HALL at KAUFFMAN CENTER FOR THE PERFORMING ARTS ANNUALLY
Thank you for supporting your Symphony.
50 2015/16 Season
“Vedi! le fosche notturne” from Il trovatore (1853) 3 minutes
Il trovatore tells the story of the troubadour Manrico, who is
murdered by his rival, the Count di Luna. After killing Manrico,
the Count learns that he is, in fact, the troubadour’s brother.
Despite the plot’s complex, improbable nature, Verdi found the
story “very beautiful, imaginative, and full of strong situations.” It
certainly inspired some of Verdi’s most famous music, including
the “Anvil Chorus” that opens the opera’s second act. In a gypsy
camp in Biscay, the people describe the gypsy’s life and pleasures.
“Vedi! le fosche notturne” from Il trovatore
Text by Salvatore Cammarano and Leone Emanuele Bardare
Gypsy Men and Women
Vedi! le fosche notturne spoglie
De’ cieli sveste l’immensa vôlta;
Sembra una vedova che alfin si toglie
I bruni panni ond’era involta.
All’opra, all’opra! Dàgli! Martella!
Chi del gitano i giorni abbella?
La zingarella!
See! The vast sky throws off
night’s dark cloud;
like the widow who at last discards
her dark clothes of mourning.
To work! Again! My hammer!
Who brightens the gypsy’s day?
The gypsy maiden!
Versami un tratto: lena e coraggio
Il corpo e l’anima traggon dal bere.
Oh, guarda, guarda! Del sole un raggio
Brilla più vivido nel mio/tuo bicchiere!
All’opra, all’opra…
Chi del gitano i giorni abbella?
La zingarella!
Pour me a drink: the body and soul
draw strength and courage from drink.
Oh, look, look! The sun’s rays
shine more brightly through my/your glass!
To work! Again! My hammer!
Who brightens the gypsy’s day?
The gypsy maiden!
Recommended Recording
VERDI: Opera Choruses
Chicago Symphony and Chorus / Sir Georg Solti, conducting
Label: Decca Catalog # 001742502
KANSAS CITY SYMPHONY
51
Kansas City Symphony
PROGRAM NOTES by Ken Meltzer
Overture and “Va, pensiero” from Nabucco (1842) 12 minutes
“With this opera, my artistic career may be said to have
begun. After Nabucco I always had as many commissions as I
wanted.” Verdi’s Nabucco tells the story of the Hebrews under
Babylonian domination. The La Scala audience at the electrifying
March 9, 1842, premiere immediately recognized the plot as
symbolic of Italy’s own struggle for independence. Verdi’s blazing
score ideally complements the opera’s revolutionary narrative.
The thrilling overture features several melodies from
the opera, including the iconic, “Va, pensiero” (Chorus of
the Hebrew Slaves). The people stand on the banks of the
Euphrates, and pray for a return to their beloved homeland.
Overture and “Va, pensiero” from Nabucco
Text by Temistocle Solera
Va, pensiero, sull’ali dorate;
Va, ti posa sui clivi, sui colli,
Ove olezzano tepide e molli
L’aure dolci del suolo natal!
Fly, my thought, on wings of gold,
go, settle upon the slopes and hills,
where, tepid and soft,
the gentle breezes of our native land are fragrant!
Del Giordano le rive saluta,
Di Sionne le torri atterrate...
Oh mia patria sì bella e perduta!
Oh membranza sì cara e fatal!
Arpa d’ôr dei fatidici vati
Perchè muta dal salice pendi?
Greet the banks of the Jordan,
Zion’s razed towers…
Oh, my country, so beautiful and lost!
Oh, memories so dear and fatal!
Golden harp of the wise prophets
why do you hang mutely from the willows?
Le memorie nel petto raccendi,
Ci favella del tempo che fu!
O simìle di Solima ai fati
Traggi un suono di crudo lamento,
O t’ispiri il Signore un concento
Che ne infonda al patire virtù!
Rekindle the memories within our breasts,
that remind us of times past!
Or similar to the fates of Solyma (Jerusalem)
intone the sound of a harsh lament,
or let the Lord inspire you with music
to give us courage to suffer!
52 2015/16 Season
“Patria oppressa!” from Macbeth (1847) 7 minutes
Verdi maintained a lifelong admiration for William
Shakespeare. Macbeth is the earliest of three Verdi operas based
upon Shakespeare plays (the other two are Otello and Falstaff ). Of
Shakespeare’s Macbeth, Verdi wrote to his librettist, Francesco
Maria Piave: “This tragedy is one of the greatest creations of
man! If we can’t do something great with it, let us at least try to
do something out of the ordinary.” The opera’s final act begins
on the border of Scotland and England. A group of Scottish exiles
bemoan the fate of their country under Macbeth’s tyrannical rule.
“Patria oppressa!” from Macbeth
Text by Francesco Maria Piave
Patria oppressa! il dolce nome
No, di madre aver non puoi,
Or che tutta a’ figli tuoi
Sei conversa in un avel.
D’orfanelli e di piangenti
Chi lo sposo e chi la prole.
Oppressed fatherland! We can no longer
give you the sweet name of mother,
now that you have changed into a tomb
for all your children.
The cries of orphans and mourners,
grieving over the loss of a husband, or a child.
Al venir del nuovo sole
S’alza un grido e fere il Ciel.
A quel grido il Ciel risponde
Quasi voglia impietosito.
Propagar per l’infinito,
Patria oppressa, il tuo dolor.
Suona a morto ognor la squilla,
Ma nessuno audace è tanto
Che pur doni un vano pianto
A chi soffre ed a chi muor.
With the coming of each new dawn
a cry of grief rises to heaven.
To this cry Heaven responds
almost with a sense of pity.
We will forever share
your sorrow, oppressed country.
The death knell is sounding everywhere
but no one is brave enough
to offer a vain cry
for those who suffer and die.
KANSAS CITY SYMPHONY
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Kansas City Symphony
PROGRAM NOTES by Ken Meltzer
GIACOMO PUCCINI (1858-1924)
Capriccio sinfonico (1883) 16 minutes
From 1880-1883, Giacomo Puccini studied at the Milan
Conservatory, where his teachers included Amilcare Ponchielli
(composer of La gioconda). For his graduation piece, Puccini
composed an orchestral work, Capriccio sinfonico. The premiere
took place in Milan on July 14, 1883, with an orchestra chiefly
composed of students led by Franco Faccio, who had conducted the
Italian premiere of Verdi’s Aida (see below). After the premiere, an
influential Milan critic praised the work’s “(u)nity of style, personality,
character, more of these than is generally found among more
mature composers of orchestral music or concerti.” The Capriccio
sinfonico is in three sections. An imposing introduction (Andante
Moderato) resolves to a lively central episode (Allegro Vivace)
that later served as the basis for the opening of Puccini’s La bohème
(1896). Capriccio sinfonico ends with a radiant Andante Moderato.
Recommended Recording
PUCCINI:
Capriccio sinfonico
PIETRO
MASCAGNI
(1863-1945)
Berlin Radio Symphony / Riccardo Chailly, conducting
Label: Decca Catalog # 000837302
CLASSICS UNCORKED: WINTER’S DREAM
Wednesday, December 9 at 7 p.m.
Helzberg Hall, Kauffman Center for the Performing Arts
Aram Demirjian, associate conductor
Christopher McLaurin, percussionist
Relive the child-like wonder of the holidays with music inspired by
beloved fairy tales and folk stories, including the “Dream Pantomime”
from Humperdinck’s Hansel and Gretel, and so many more. Tickets are
only $25 or $30 each and include a glass of wine or champagne after the
concert, when you can mingle with Symphony musicians in the Kauffman
Center’s Brandmeyer Great Hall lobby. Sponsored by BMO Private Bank.
“Regina coeli” and Intermezzo from
Cavalleria rusticana (1890) 12 minutes
Along with Leoncavallo’s Pagliacci
(1892) (see above), Mascagni’s Cavalleria
rusticana (Rustic Chivalry) marks the
beginning of the verismo movement in
Italian opera. The two one-act operas
are often performed on the same bill, and
are affectionately referred to as “Cav and Pag.” Cavalleria rusticana
takes place in a Sicilian village on Easter Sunday, and tells the
story of a love triangle that ends in murder. The wronged woman,
Santuzza, although excommunicated, joins the villagers as they
lift their voices to God. The beautiful and famous orchestral
interlude sets the scene for the opera’s tragic resolution.
“Regina coeli” and Intermezzo from Cavalleria rusticana
Text by Giovanni Targioni-Tozzetti and Guido Menasci
Chorus (inside the church)
Regina coeli laetare.
Alleluja!
Quia quem meruisti portare.
Alleluja!
Resurrexit sicut dixit.
Alleluja!
Queen of Heaven, rejoice.
Hallelujah!
He whom you worthily bore.
Hallelujah!
He has risen, as He said.
Hallelujah!
The Villagers on the Plaza
Inneggiamo,
Il Signor non è morto,
Ei fulgente
Ha dischiuso l’avel,
Inneggiamo
Al Signore risorto
Oggi asceso
Alla gloria del Ciel!
We give praise,
the Lord is not dead,
radiant,
He has opened the tomb,
we give praise
to the Lord Who has risen
today He ascended
to the glory of Heaven!
KANSAS CITY SYMPHONY
55
Kansas City Symphony
PROGRAM NOTES by Ken Meltzer
GIUSEPPE VERDI (1813-1901)
“Gloria all’Egitto” from Aida (1871) 11 minutes
Verdi’s Aida, one of the grandest of grand operas, premiered in
Cairo, Egypt, on December 24, 1871. The plot incorporates a theme
that fascinated Verdi throughout his long and storied career — the
conflict between private desires and public duty. Radamès, the
leader of the Egyptian forces, is in love with Aida, an Ethiopian
princess, now a slave to the daughter of the king of Egypt. In the
great triumphal scene that concludes act II, the people gather
before the gates of Thebes to welcome Radamès and the victorious
Egyptian army. The army enters with the Ethiopian prisoners of
war, including Amonasro — Aida’s father and king of Ethiopia. “Gloria all’Egitto” from Aida
Text by Antonio Ghislanzoni
Egyptian People
Gloria all’Egitto, ad Iside
Che il sacro suol protegge;
Al Re che il Delta regge
Inni festosi alziam!
Gloria!
Gloria al Re!
Glory to Egypt and to Isis,
who protects the sacred land;
we sing festive hymns to the
King who rules the Delta!
Glory!
Glory to our King!
Women
S’intrecci il loto al lauro
Sul crin dei vincitori;
Nembo gentil di fiori,
Stenda sull’armi un vel.
Danziam, fanciulle egizie,
Le mistiche carole,
Come d’intorno al sole
Danzano gli astri in ciel!
Weave the lotus and laurel crown
for the victors;
a soft cloud of flowers
will be a veil upon their arms.
Dance, Egyptian maidens,
the mystic dances the stars dance
in the heavens around the sun!
Ramfis, Priests
Della vittoria agli arbitri
Supremi il guardo ergete;
Grazie agli Dei rendete
Nel fortunato dì.
Lift your eyes
to the supreme arbiters of victory;
give thanks to the gods
for this fortunate day.
People
Vieni, o guerriero vindice,
Vieni a gioir con noi;
Sul passo degli eroi
I lauri, i fior versiam!
Gloria! ecc.
Come, victorious warrior,
come and celebrate with us:
we cast laurels and flowers
at the feet of our heroes!
Glory! etc.
English translations of original Italian texts by Ken Meltzer.
KANSAS CITY SYMPHONY
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