Verdi Ecco l'orrido... Ma dall'arido stelo Un
ballo in maschera
Verdi Morrò, ma prima in graziaUn ballo in maschera
TOSCA
Giacomo Puccini (1858 - 1924)
Opera in three acts in Italian [Sung in Turkish] Text by Giacosa and Illica after the play by Sardou Premièr at Teatro Castonzi, Roma – 14 January 1900
January 1963
State Opera and Ballet, Ankara
Conductor: Helmut Schaefer
Chorus master: Adolfo Comozzo
Stage director: Elmar Voight
Scene and costumes: Seza Altındağ Floria Tosca a celebrated singer LEYLA GENCER soprano
Mario Cavaradossi a painter DOĞAN ONAT/VITO MIRRA tenor
Baron Scarpia Chief of Police RIFKI AR/ÖZCAN SEVGEN baritone
Cesare Angelotti a political prisoner SELİM ÜNOKUR bass
A Sacristan ALİ GÜRKOÇ/FİKRET KUNRAT baritone
Spoletta apolice agent NURİ TÜRKAN/EDİP ALTUGAN tenor
Sciarrone a gendarme NEDİM KAVLAKOĞLU bass
A Gaoler SEYİT AHMET YILDIZ bass
A Shepherd Boy BERGAM KIZILTUĞ contralto
Time: June 1800
Place: Rome
UN BALLO IN MASCHERA [Gustavus III]
Giuseppe Verdi (1813 - 1901)
Opera in three acts in Italian
Libretto: Antonio Somma
Premièr at Apollo Theatre, Rome – 17 February 1859
03 January 1963
Staatsoper, Wien
Conductor: Giuseppe Patané
Chorus master: Richard Rossmayer
Stage director: Josef Gielen
Scene and costumes: Ita Maximowna Choreography: Willy Franzl
Count Riccardo Governor of Warwick (Gustavus III) GIUSEPPE ZAMPIERI tenor
Amelia LEYLA GENCER soprano Renato Secretary to the Governor (Anckarstroem) ALDO PROTTI baritone Samuele (Count Ribbing) enemy of the Governer n/a
bass Tomaso (Count Horn) enemy of the Governer n/a
bass Silvano a sailor (Cristian) n/a baritone Oscar a page OLIVERA MILJAKOVIC soprano Ulrica a fortune-teller (Arvidson) GIULIETTA
SIMIONATO mezzo-soprano
Time: Boston (USA) or Sweden
Place: End of
Eighteenth Century or 1792
PIKOVAYA DAMA [La dama picche]
Piotr Ilitsch Tchaikovsky (1840 - 1893)
Opera in three acts in Russian [Sung in Italian]
Libretto: Modest Tchaikovsky Premièr at St. Petersburg – 19 December 1890
30 March - 03, 07 April 1963
Teatro Nuovo, Torino
Conductor: Franco Capuana
Chorus master: Mario Tagini
Stage director: Carlo Piccinato
Scene and costumes: Enzo Deho
Tchekalinksy an officer RAIMONDO BOTTEGHELLI tenor
Sourin an officer ALESSANDRO MADDALENA bass Herman a young officer GIUSEPPE CAMPORAtenor ANTONIO ANALARO tenor
Count Tomsky PAOLO WASHINGTONbaritone Prince Yeletsky RENATA CAPECCHI baritone The Countess MARIANNA RADEV mezzo-soprano Lisa her granddaughter LEYLA GENCER soprano Pauline Lisa’s companion ANNA MARIA
ROTA contralto Governess ANNA DI STASIO mezzo-soprano Mascha Lisa’s maid GIUSE GERBINO CROTTA soprano Master of Ceremonies ARMANDO BENZI tenor Tchaplitsky a gambler ARMANDO BENZI tenor Narumoff a gambler GIOVANNI ANTONINI bass Chloe M. NATIVO soprano Daphnis (Pauline) in the interlude R. FIUMICELLI contralto Plutus (Tomsky) in the interlude I. DORSIbaritone
Time: End of Eighteenth Century
Place: A country estate; St. Petersburg
OPERA MAGAZINE
1963 March
LA STAMPA
1963.03.29
LA STAMPA
1963.03.30
LA STAMPA
1963.03.31
OPERA MAGAZINE
1963 May
OPERA MAGAZINE
1963 June
LE NOZZE DI FIGARO
Wolfgang Amadeus Mozart (1756 - 1791)
Opera buffa in four acts in Italian
Liberetto: Lorenzo de Ponte, after Beaumarchais. Premièr at Burgtheater, Vienna – 1 May 1786
22† July 1963
Royal Albert Hall, London
BBC PROMS [Prom 2]
PROMS PREMIERE
The Royal Philharmonic Orchestra
The Glyndebourne Festival Chorus
Conductor: Silvio Varviso
Chorus master: Myer Fredman
Stage director: Carl Ebert (1955)
Scene and costumes: Oliver Messel Choreographer: Robert Harrold Count Almaviva MICHAEL ROUX baritone Figaro his valet HEINZ BLAKENBURG baritone Doctor Bartolo MICHAEL LANGDON bass Don Basilio a music-master HUGUES CUENOD tenor Cherubino a page EDITH MATHIS soprano Antonio a gardener DERICK DAVIES bass Don Curizo counsellor at law JOHN KENTISH tenor Countess Almaviva LEYLA GENCER soprano Susanna her personal maid LILIANE BERTON soprano Marcellina a duenna ROSA LANGHEZZA soprano Barbarina Antonio’s niece MARIA ZERI soprano Bridesmaid AUDREY ATTWOOD Harpsichord Martin Iseppe
Time: Eighteenth Century
Place: The Count’s chateau of Aguas Frescas, near
Seville
†Recording date
Note:A Concert
Performance of the production given by Glyndebourne Opera Festival. Recorded
and broadcasted by BBC 3rd & BBC Overseas Service
Recording Excerpt [1963.07.22]
Porgi Amor qualche
ristoro Act II
Dove sono i bei momenti Act III
LE NOZZE DI FIGARO
Wolfgang Amadeus Mozart (1756 - 1791)
Opera buffa in four acts in Italian
Liberetto: Lorenzo de Ponte, after Beaumarchais. Premièr at Burgtheater, Vienna – 1 May 1786
Revival producer: Peter Ebert Scene and costumes: Oliver Messel Choreographer: Robert Harrold
Count Almaviva MICHAEL ROUX baritone
Figaro his valet HEINZ BLAKENBURG baritone Doctor Bartolo CARLO CAVA bass Don Basilio a music-master HUGUES CUENOD tenor Cherubino a page EDITH MATHIS soprano Antonio a gardener DERICK DAVIES bass Don Curizo counsellor at law JOHN KENTISH tenor Countess Almaviva LEYLA GENCER soprano Susanna her personal maid LILIANE BERTON soprano Marcellina a duenna ROSA LANGHEZZA soprano Barbarina Antonio’s niece MARIA ZERI soprano Bridesmaid AUDREY ATTWOOD
Harpsichord Martin Iseppe
Time: Eighteenth Century
Place: The Count’s chateau of Aguas Frescas, near Seville
†Recording date
Note: Special television performance for BBC before an invited audience.
Recorded on 22
August and broadcasted on 29 August by BBC sent on Eurovision and also
broadcast in Germany and Ireland
EVENING NEWS & STAR
1963.08.29
LE NOZZE DI FIGARO
Wolfgang Amadeus Mozart (1756 - 1791)
Opera buffa in four acts in Italian
Liberetto: Lorenzo de Ponte, after Beaumarchais. Premièr at Burgtheater, Vienna – 1 May 1786
28†, 30 June - 07, 09, 11, 13, 16, 18, 24, 27 July - 22*† August 1963
Glyndebourne Opera, Glyndebourne
GLYNDEBOURNE OPERA FESTIVAL
The Royal Philharmonic Orchestra
The Glyndebourne Festival Chorus
Conductor: Silvio Varviso
Chorus master: Myer Fredman
Stage director: Carl Ebert (1955) / Peter Ebert
Scene and costumes: Oliver Messel
Choreographer: Robert Harrold
Count Almaviva MICHAEL ROUX baritone
Figaro his valet HEINZ BLAKENBURG baritone
Doctor Bartolo CARLO CAVA bass
MICHAEL LANGDON bass (13, 15, 18, 24, 27.07)
Don Basilio a music-master HUGUES CUENOD tenor
Cherubino a page EDITH MATHIS soprano
Antonio a gardener DERICK DAVIES bass
Don Curizo counsellor at law JOHN KENTISH tenor
Countess Almaviva LEYLA GENCER soprano
Susanna her personal maid LILIANE BERTON soprano
Marcellina a duenna ROSA LANGHEZZA soprano
Barbarina Antonio’s niece MARIA ZERI soprano
Bridesmaid AUDREY ATTWOOD
Harpsichord Martin Iseppe
Time: Eighteenth Century
Place: The Count’s chateau of Aguas Frescas, near Seville
In Glyndebourne's foundation, my parents must have
faced what at the time seemed a formidable and almost insuperable task
(certainly something which could hardly be recreated in this country today),
but in successfully achieving their aims they have in some respects made the
continuation and inheritance of Glyndebourne, its standards and its reputation,
an almost equally challenging and formidable task. With the shadow of my
parents' achievements looming over me, I inevitably have a feeling of
apprehension about the immensity of responsibility now passed on to me.
Apprehension about one's ability to carry a great weight of responsibility is
inevitable when the strength of the person in question has not been fully
tested. Only by meeting the challenge and triumphing over it can apprehension
be overcome, and inheritance be deserved and enjoyed. Inheritance is not necessarily something to be envied.
Rightly, appreciation of the success of a venture like Glyndebourne or of any
project, be it an enlightened government or a small business, is directed in
the first place to the person or people responsible for the establishment of
that success. Edmund Burke, in one of his letters about his proposals
for peace in France during the Revolution described Alexander I of Russia on
his succession to the throne after Catherine the Great as 'the inheritor of so
much glory and placed in a situation of so much delicacy and difficulty for the
preservation of that inheritance.... His renown will be in continuing with ease
and safety what his predecessor was obliged to achieve through mighty
struggles. He is sensible that his business is not to innovate, but to secure
and establish.' To my mind, the future of Glyndebourne does not depend on
'preservation', on continuing 'with safety' what has in the past been achieved
through 'mighty struggles', on avoiding innovation and concentrating instead
upon the establishment of security for the future. Glyndebourne would become
atrophied, would become a museum rather than a 'live' theatre if it were now
purely a question of its preservation. It seems to me essential that the future of Glyndebourne
as a living and leading opera house of international interest must depend upon
the development of a tradition created by my parents and those who to an
important extent assisted them. It is not a question of sticking strictly to
the methods of the past, but of developing these methods so as to merit a
position of leadership in a world of changing thoughts, circumstances, fashions
and so on. What my father and mother particularly helped to do in
creating and establishing Glyndebourne was to break with operatic tradition as
known in this country, to contradict the static and undramatic productions, or
rather performances, which were generally to be seen before the war, and with
the help of Fritz Busch and Carl Ebert, to introduce a virtually new tradition
opera. My parents were fortunate in the realisation of ideas which, though
rarely practised in this country, found immediate acceptance. Audiences were
tiring of imported performances of large-scale works sung before so-called
naturalistic and shabby settings, and 'acted out' according to the whims of the
singers rather than the direction of a producer. (The pre-war producer, to
judge from his billing and from what I have been told of his work, was on the
whole regarded as a mere technician with no properly equated artistic
function.) Busch and Ebert made an immediate impact in correcting this
situation in their first productions at Glyndebourne - and of course
thereafter. Furthermore, so-called chamber opera was relatively seldom
performed - Così fan tutte, for example, was scarcely ever staged and so the
time was ripe to give the public something of which they had been comparatively
starved. My parents were also fortunate in the timing of their creation in so
far as economic factors in the 'thirties were concerned. Building costs (in
comparison with today) were exceptionally low. Imagine, as an individual with a
fair amount of capital, building an opera house today. A municipal theatre
seating under 1000 designed conventionally for the less complicated demands of
the spoken rather than sung word now costs in its basic form £300,000. It also
costs a good deal to run once constructed. Tax was also sufficiently low in the
'thirties to allow a relatively wealthy man to meet out of his own pocket the
deficit made on a two- to three-week season of opera (not the cheapest form of
art). Looking back, it seems that the timing of Glyndebourne's
foundation was for these and other reasons opportune and gave possibly the last
chance for a private patron to attach to his home a private opera house where
first-rate artists were brought together in an almost feudal, though
essentially professional, set-up, to perform before an audience brought down in
a 'special train'. The artistic policy and all its ramifications - programming,
methods of musical and dramatic production, construction of additional
buildings etc. – have of course been developed over the years. In the six years
before the war, Mozart's operas were almost exclusively performed (Verdi's
Macbeth and Donizetti's Don Pasquale being the only exceptions). Since the
revival of Glyndebourne in 1946, the repertoire has of course widened
enormously. The personalities involved have necessarily changed too, not
perhaps in every case for the better, nor evidently in the
majority of cases for the worse. Ancillary buildings have sprung up
extensively. (Even though Glyndebourne has during the past 12 years become
almost a village, a recent letter from France addressing my father as the Mayor
of Glyndebourne implied rather more than a top-heavy impression of the size of
the place.) On the death of my mother, little in the way of
general policy was instantly altered. What had until her death been realised,
continued thereafter to be practised without any immediate weakening or change,
even though she had to a very large degree been responsible for the formation
of policy and methods during the first twenty years of Glyndebourne's
existence. Similarly, now that my father has died, the basic principles on
which Glyndebourne has been built up and the resulting policy and system of functioning
will not consequently change all of a sudden.
There seems to be little purpose in altering something
which has been built up with a great deal of thought and care over the years,
which has in effect become to a large extent self-generating, and which has
proved and is still actively proving itself to be right in essentials and
successful in results. Developments must of course take place, but they should
surely be introduced as a logical consequence of what went before (assuming
that the previous set-up could be justified as being of real value) and as a
result of needs and circumstances at the moment of change.
With our methods of working already so deeply
ingrained, our basic policy firmly established and a profound interest in and
enthusiasm for Glyndebourne's progress amongst those working for it, the future
does not by any means look an unhappy one for me or for those dedicated to
Glyndebourne.
With Peter Ebert, Stage Director and Liliane Berton, Susanna
OPERA MAGAZINE
1963 January
THE MUSICAL TIMES
1963 June
UNKNOWN TURKISH NEWSPAPER
1963 June
THE TIMES
1963.06.29
SOUTH WALES ARGUS
1963.07.15
THE TIMES
1963.08.23
THE CRONICLE
1963.08.23
NORTH WEST EVENING MAIL
1963.08.29
SOUTH WALES ARGUS
1963.08.29
Recording Excerpt [1963.06.28]
Porgi Amor qualche ristoro Act II
E Susanne non vien! .... Dove sono i bei momenti Act III
Canzonetta sull'aria... Che soave zeffirettoAct III
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