"When the thaw comes, the first sunshine is mine": Still more Freni

Freni as Micaëla in 1965 (photo by Bisazza)

BIZET: Carmen: Act III, Recitative (not by Bizet) and aria, Micaëla, "C'est ici des contrebandiers le refuge ordinaire" . . . "Je dis que rien ne m'épouvante"

A mountain pass. A wild rocky place. It is a dark night. The stage has been populated by smugglers and Gypsies including CARMEN and her gal-and-guy cronies and also the AWOL, hopelessly smitten DON JOSÉ. They've all filed out now, leaving JOSÉ behind, posted on a high rock to watch. Unseen by him, MICAËLA, accompanied by a guide, enters. The guide points out the smugglers' camp, then quickly withdraws.

Recitative (by Ernest Guiraud)
This is the smugglers' usual hideout.
He's here, I will see him,
and the duty his mother charged me with
I'll accomplish without trembling.
Aria
I say that nothing frightens me.
I say, alas, that I can take care of myself.
But I play the valiant woman in vain.
Deep in my heart I'm dying with terror!
Alone in this savage place,
all alone, I'm afraid,
but I'm wrong to be afraid.
You will give me courage,
you will protect me, Lord!

I'm going to see close up this woman
whose cursed wiles
have wound up making an outlaw
of the man I once loved!
She's dangerous, she's beautiful,
but I don't want to be afraid!
No, no, I don't want to be afraid!
I will speak boldly in her presence!
Ah! Lord, you will protect me!

Ah! I say that nothing frightens me, etc.
Protect me, o Lord!
Give me courage!

[in Italian] Munich Radio Orchestra, Ino Savini, cond. Eurodisc-Vanguard Cardinal, recorded 1959

Vienna Philharmonic, Herbert von Karajan, cond. Live performance from the Salzburg Festival, July 27, 1966

by Ken

Thus far in our remembrance of Mirella Freni (1935-2020) -- first here, then here -- we've gotten as far as hearing her sprinkle abundant vocal magic as young Nannetta Ford impersonates the Queen of the Fairies in the final scene of Verdi's Falstaff, a role she learned on shorter notice than she thought she could when the call came from Covent Garden, where she wound up winning the heart of the young Carlo Maria Giulini with her debut in 1961 -- and attracting lots of other international attention, including that of Herbert von Karajan, who seems pretty quickly to have thought of her for a couple of other roles he needed to cast.

One was Micaëla in Carmen, which he was doing at Salzburg and (in November 1963) recording for RCA. This was a role Freni didn't have to learn, except perhaps in French (if we can really call what she's singing French); it was the first role she sang onstage, in her hometown of Modena, at the age of 20. (The 1959 Italian-language recording of Micaëla's aria we hear above comes from the same Eurodisc operatic recital from which we've heard her first recordings of Gianni Schicchi's darling daughter Lauretta's "O mio babbino caro," Suor Angelica's "Senza mamma," and Nannetta's "Sul fil d'un soffio etesio.") One thing we might say of Micaëla, though, as we might have said of Nannetta, is that while they're both roles that many up-and-coming singers have sung on their way to bigger opportunities, it's not often that either of these roles is itself a career-builder. For that to happen, the singer has to be something special.

Is there any question that Freni was something really special?


LET'S SAMPLE TWO OTHER ROLES, INCLUDING THE
OTHER ONE THAT KARAJAN HAD FRENI IN MIND FOR

Nicolai Gedda (1925-2017)

10pm ET UPDATE: We have Yevgeny Onegin audio files!

Anneliese Rothenberger and Nicolai Gedda as Constanze
and Belmonte in Mozart's Abduction from the Seraglio,
from the cover of their 1966 EMI recording

MOZART: The Abduction from the Seraglio, K. 384: Overture and Belmonte's entrance aria, "Hier soll ich dich denn sehen?"

BELMONTE: Here am I then to see you,
Constanze -- you, my happiness?
Let Heaven make it happen!
Give me my peace back!
I suffered sorrows,
o Love, all too many of them.
Grant me now in their place joys
and bring me toward the goal.

[aria at 4:35] Nicolai Gedda (t), Belmonte; Vienna Philharmonic, Josef Krips, cond. EMI, recorded February 1966

Now here it is sung by a younger, fresher-voiced Nicolai --

[aria at 4:20] Nicolai Gedda (t), Belmonte; Paris Conservatory Orchestra, Hans Rosbaud, cond. Recorded live at the Aix-en-Provence Festival, July 11, 1954

Finally, here it is sung in English (from a complete Abduction
recording based on a Phoenix Opera Group production) --

[in English; aria at 4:10] Nicolai Gedda (t), Belmonte; Bath Festival Orchestra, Yehudi Menuhin, cond. EMI, recorded Oct.-Dec. 1967 (now available in Chandos's opera-in-English series)

by Ken

Although Nicolai Gedda continued singing publicly well into his 70s, he had, not surprisingly, slipped out of the international circuit well before then, and since he was 91 when he died on February 8, in Switzerland, it may be that to younger music lovers the Swedish tenor is just a name, if that. But there was a time, and a fairly long one at that, when he seemed to be everywhere, singing more or less everything -- at least everything assumable by a generous-voiced lyric tenor, in the wide range of languages in which he sang with both technical and expressive assurance.


I NEVER THOUGHT OF OUR NICOLAI AS A FAVORITE
SINGER. IT'S MORE THAT HE WAS ALWAYS THERE.

Preview: You know who this famous tenor is, and what he's singing, right?

There's a tear in your eye,
and I'm wondering why,
for it never should be there at all.
With such pow'r in your smile,
sure a stone you'd beguile,
so there's never a teardrop should fall.
When your sweet lilting laughter's
like some fairy song,
and your eyes twinkle bright as can be,
you should laugh all the while
and all other times smile,
and now smile a smile for me. . . .

by Ken

In the cruelly aborted audio clip above, everyone knows what's coming next, right? After all, it is perhaps the signature song of this great tenor. And a great tenor he indisputably was; we're going to hear a couple of other selections in a moment.

CAN YOU GUESS THE "TEN GREAT [VICTOR] SINGERS"?

My dark history with the rollicking opening of Act II of Donizetti's "Elixir of Love"

[With a certain amount of restorative touching up, including insertion of some of the missing English texts, but not including replacement of the now-gone crappy video clip, in February 2020]


At the Met this past October, conductor Maurizio Benini (with baritone Mariusz Kwiecien as the blustering Sgt. Belcore) seemed to think the thing to do with this wonderful little chorus that opens Act II of L'Elisir d'amore is to slam-bang your way through it. I think we've already heard a better solution.

by Ken

Partway through the spring trimester of my junior year in college I stopped going to classes. Just stopped clean. Oh, it wasn't an intentional class stoppage at the outset. It just felt better not going than going. After a while, though, it became a clean break. I knew there would be consequences, and I decided I would deal with them when the time came. (Ironically, by the time the time came, the entire fall trimester, during which I re-demonstrated my ability to discharge my academic responsibilities, had come and gone. I detected a whiff of irony in the righeous wrath that descended at this remove in time, but nobody else involved was in irony-detection mode.)

I don't want to point fingers here, but the principal activity with which I filled those now-blissfully-freed-up class hours was listening to a recording I happened just to have acquired at the college bookstore: the very recording of Donizetti's Elixir of Love to which we happen to have been listening, and in particular to the opening of Act II.


L'ELISIR D'AMORE IS THE EARLIER OF
DONIZETTI'S TWO COMIC MASTERPIECES

Don Pasquale (1843) is undoubtedly the more urbane and sophisticated,, but I don't know that I could rate it any deeper, more moving, or more satisfying than the country-bumpkinish L'Elisir (1832). If we start by getting that infernal idea of "better" or "worse" out of our heads, I think we can already hear the strikingly different ways in which the two pieces work just from their orchestral introductions -- a prelude in the case of L'Elisir, a fuller-fledged overture in the case of Don Pasquale.

First let's hear the Prelude and jolly opening chorus of L'Elisir d'amore.

DONIZETTI: L'Elisir d'amore: Prelude and Opening Chorus
[We're by a riverbank at the entrance to the farm of ADINA, where jolly harvesters from the village are noting that the scorch of love's flame is even harder to protect against than that of the overhead midday sun.]

Antonella Bandelli (s), Giannetta; Chorus and Orchestra of the Maggio Musicale Fiorentino, Gabriele Ferro, cond. DG, recorded November 1986

Renza Jotti (s), Giannetta; Chorus and Orchestra of the Maggio Musicale Fiorentino, Gianandrea Gavazzeni, cond. Live performance, June 1967

Angela Arena (s), Giannetta; Rome Opera Chorus and Orchestra, Francesco Molinari-Pradelli, cond. EMI, recorded August 1966

Re-preview: Enter Donizetti's phony-elixir-seller, Dr. Dulcamara

Again, there's a reason why we've been listening to this particular performance of Donizetti's Elixir of Love. We'll get to that, finally, this Sunday (I hope).

by Ken

I'm afraid we got kind of hung up heading from last week's preview, "There's something about the opening of Act II of Donizetti's Elixir of Love," to a post based on Donizetti's great operatic comedy. But I don't mind further-previewing it.

In the original preview we indeed heard the opening of Act II, including the little performance-duet between the traveling quack Dr. Dulcamara and Adina.

DONIZETTI: L'Elisir d'amore: Act II opening, Chorus, "Cantiamo, cantiam" ("Let's sing, let's sing"); Duo, Dulcamara-Adina, "Io son rico, tu sei bella" ("I'm rich, you're beautiful")
[For Italian-English texts, see last week's post.]

Mario Sereni (b), Sgt. Belcore; Renato Capecchi (b), Dr. Dulcamara; Angela Arena (s), Giannetta; Mirella Freni (s), Adina; Rome Opera Orchestra, Francesco Molinari-Pradelli, cond. EMI, recorded August 1966

ENTER DR. DULCAMARA

For now let me just say again that there's a reason why we heard this particular performance of this particular excerpt, and we'll get to that Sunday, probably. Meanwhile tonight I thought we would hear Dr. Dulcamara's entrance in Act I, which at the Met used to be accomplished in a hot-air balloon.

Preview: There's something about the opening of Act II of Donizetti's "Elixir of Love"

Leo Nucci (Sgt. Belcore), Ildebrando d'Arcangelo (Dr. Dulcamara), Inna Los (Giannetta), and Anna Netrebko (Adina) in the opening of Act II of Donizetti's L'Elisir d'amore, conducted by Alfred Eschwé and directed by Otto Schenk, at the Vienna State Opera, April 2005 (we have Italian-English texts below)

by Ken

Donizetti's magical Elixir of Love would be amply worth our attention even if it didn't contain one of the most memorable of tenor arias. We already heard a bunch of fine performances of "Una furtiva lagrima in the December 2011 post "The old minor-to-major switcheroo as practiced by Schubert, Mahler, and Donizetti" (and the preview), but there's a reason why I'm adding this performance.

DONIZETTI: L'Elisir d'amore: Act II, Aria, Nemorino,
"Una furtiva lagrima" ("A furtive tear")

A furtive tear
welled up in her eye.
Those carefree girls
she seemed to envy.
Why should I look any further?
She loves me, yes, she loves me.
I can see it, I can see it.

To feel for just one moment
the beating of her dear heart!
To blend my sighs
for a little with hers!
Heavens, I could die;
I ask for nothing more.
I could die of love.

-- English translation by Kenneth Chalmers

Nicolai Gedda (t), Nemorino; Rome Opera Orchestra, Francesco Molinari-Pradelli, cond. EMI, recorded August 1966

L'Elisir would also be more than worth our time even if it didn't have this particular Act II opening, which we're going to hear as performed in the same recording of the opera.