Opera: Recent Episodes
Glen Quick
[00:00:00] 8:00 pm - Opera + Nocturne
[00:10:08] with Glen Quick
[00:10:13] ROSSINI< G L`Equivico Stravagante [The Bizarre
[01:10:13] 9:10 pm - Opera + Nocturne
[02:10:14] 10:10 pm - Opera + Nocturne
[02:30:13] with Glen Quick
[02:30:18] CHAUSSON Ernest, Concert For Violin, Piano &
[03:09:48] LISZT F Hungarian Rhapsody No 12 In C Sharp Mi
[03:18:52] MOZART W A, Quartet In F For Oboe, Violin, Vi
[03:35:58] BACH JS Chaconne From Partita For Solo Violin
[03:50:44] MOZART W A Adagio In C For Cor Anglais Violin,
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:09:57] with Christopher Stone
[00:10:02] WAGNER Lohengrin, Siegfried Jerusalem, Cheryl
[00:16:07] with Glenn Quick
[01:16:07] 9:16 pm - Opera + Nocturne
[02:16:08] 10:16 pm - Opera + Nocturne
[03:16:08] 11:16 pm - Opera + Nocturne
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Opera with Yvonne Schwerdt
TCHAIKOVSKY "Mazeppa" Nikolai Putilin; Sergei Alexashkin; Larissa Diadkova; Irina Loskutsova; Viktor Lutsiuk; Viacheslav Luhanin; Vladimir Zhivopistsev; Nikolai Gassiev; Kirov Opera Chorus & Orchestra (St. Petersburg); Cond.,Valery Gergiev
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Nocturne with Yvonne Schwerdt
SAINT-SAENS Clarinet Sonata Op 167 Craig Hill, clarinet; Robert Chamberlain, piano
HANDEL "Ariodante" Overture & Ballet Music Academy of St Martin-In-the-Fields; Cond. Neville Marriner
BEETHOVEN Piano Sonata in E major Op 109 Ian Holtham, piano
GIORDANO "Fedora" Intermezzo Berliner Philharmoniker; Cond. Herbert von Karajan
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Opera with Glen Quick
ROSSINI, G La Gazzetta, ossia Il matrimonio per Orestano Artist(s): Bevacqua, Rossella; Bruzzaniti, Vincenzo; Capissi, Emanuele; Cristarella Orestano, Marco; Gauthier, Judith; Mahieux, Ugo; Mastrototaro, Giulio; Polinelli, Filippo; Soulis, Maria; Spyres, Michael Chorus & Orchestra de L'Opera Royal de Wallonie, Schultsz
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Nocturne with Glen Quick
HAYDN FJ, Symphony No 68 in B-flat major, Philharmonia Hungarica; Cond., Antal Dorati
MOZART WA, Piano Concerto No 26 K537 [Coronation] English Chab Orch.; Cond,; Vladimir Ashkenazy & piano
MENDELSSOHN Felix, Octet Op 20, Aust Chamber Orch; Cond., Richard Tognetti
MOZART WA, Divertimento in B major K137, Camerta Academia Salzburg Conductor Herman Abel
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Opera + Nocturne with Christopher Stone
[00:05:16] ROSSINI Il Viaggio A Reims, Katia Ricciarelli, Francisco Araiza, Samuel Ramey, Ruggero Raimondi, Leo Nucci, Prague Philharmonic Chorus, Chamber Orchestra of Europe; Cond., Claudio Abbado
Nocturne with Christopher Stone
SCHUBERT Impromptus D946, Claudio Arrau, piano
BEETHOVEN String Quartet No 8 in E minor Op 59 No 2 "Razumovsky" Quatuor Ebene
DEBUSSY Violin Sonata in G minor, Kyung Wha Chung, volin; Radu Lupu, piano
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Opera with Yvonne Schwerdt
VERDI "Otello" - as Otello - Mario Del Monaco, tenor; as Desdemona - Renata Tebaldi, mezzo-soprano; as Iago - Aldo Protti, baritone; Nello Romanato, tenor; Ana Raquel Satre, soprano; Lodovico - Fernando Corena, bass; Monato - Tom Krause, bass-baritone; Athos Cesarini, tenor; Libero Arbace, baritone; Vienna State Opera Chorus & Orch; Cond., Herbert Von Karajan
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Nocturne with Yvonne Schwerdt
SCHUBERT Piano Sonata In A Major D664, Jayson Gillham, piano
MENDELSSOHN Overture "Calm Sea and Prosperous Voyage" Op 27 Concertgebouworkest; Cond. Antal Dorati
GLAZUNOV String Quartet in A major Op 39 Australian String Quartet; Janis Laurs, cello
WEBER Clarinet Concerto No 1 In F Minor Op 73, Andreas Ottensamer, clarinet; Berlin Phil Orch.; Cond., Mariss Jansons
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Opera with Glen Quick
VERDI Giusseppe "Luisa Miller"
Luisa - Katia Ricciarelli, soprano; Rodolfo - Placido Domingo, tenor; Frederica - Elena Obraztsova, mezzo-soprano; Miller - Renato Bruson, baritone; Il Conte di Walter - Gwynne Howell, bass;
Orch. of the Royal Opera House, Covent Garden; Cond. Lorin Maazel
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Nocturne with Glen Quick
GLAZUNOV, A Piano Sonata No 1 in B-flat minor Op74, Stephen Coombs, piano
PROKOFIEV, Sergei String Quartet No 2 Op 92, Chilingirian Quartet
BACH JS French Suite No 1 BWV 812, Andrei Gavrilov, piano
PIERNE Gabriel Piano Quintet in E minor Op 41, Goldner Quartet with Piers Lane, piano
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Opera with Christopher Stone
SCHUBERT, Franz "Fierrabras" [The Poacher] Fierrabras, Josef Protschka, tenor; Florinda,:Cheryl Studer, soprano; Roland, Thomas Hampson, baritone; Emma, Karita Mattila, soprano; King Karl (Charlemagne), Robert Holl, bass; Arnold Schoenberg Choir, Chamber Orchestra of Europe; Cond., Claudio Abbado
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Nocturne with Christopher Stone
SCHUBERT Moments Musicaux D780, Claudio Arrau, piano
BEETHOVEN String Quartet No 7 in F Major Op 59 No 1 "Razumovsky" Quatuor Ebene
SMETANA "The Moldau" RCA Victor Symph. Orch.; Cond., Leopold Stokowski
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Opera + Nocturne with Yvonne Schwerdt
JANACEK "Katya Kabanova"
Dalibor Jedlicka; Petr Dvorsky; Nadezda Kniplova; Vladimir Krejcik; Elisabeth Soderstrom; Zdenek Svehla; Libuse Marova; Jaroslav Soucek; Chorus Of The Vienna State Opera; Vienna Phil. Orch; Cond., Charles Mackerras
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Nocturne with Yvonne Schwerdt
MOZART Divertimento K137, Virtuosi TasmaniaBOMTEMPO Symphony No 1 Op 11 Algarve Orch.; Cond. Alvaro CassutoLISZT Legende No 1 S175 "St Francis of Assisi Preaching to the Birds" Stephen Savage, pianoDVORAK String Quartet in F major No 12 Op 96 "American" Australian String QuartetSAINT-SAENS Clarinet Sonata In E Flat Major Op 167 Kimball Sykes, clarinet, Stephane Lemelin, pianoGRIEG Holberg Suite Op 40, Australian Chamber Orchestra; Dir. Richard TognettiLISZT Etude De Concert No 3 "Un Sospiro" David Helfgott, pianoANON Dances from the Arundel Part Books The Parley Of Instruments Renaissance Violin Consort
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Opera with Glen Quick
GOUNOD, CHARLES Roméo et Juliette Roméo: Roberto Alagna, tenor; Juliette: Angela Gheorghiu, soprano; Frère Laurent: José van Dam, bass-baritone; Mercutio: Simon Keenlyside, baritone; Stéphano: Marie-Ange Todorovitch, mezzo-soprano; Capulet: Alain Fondary, baritone; Gertrude: Claire Larcher, mezzo-soprano; Orchestre National du Capitole de Toulouse; Cond., Michel Plasson;
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Nocturne with Glen Quick
SCRIABIN, ALEXANDER 4 Studies From Opus 8 Piers Lane, piano
SCHUBERT, FRANZ Piano Trio In E Flat D929 Stuttgart Trio
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Opera with Christopher Stone
ROSSINI "L`Italiana In Algeri"
Agnes Baltsa, Ruggero Raimondi, Patrizia Pace, Anna Gonda, Alessandro Corbelli, Frank Lopardo, Enzo Dara; Vienna State Opera Chorus; Vienna Philharmonic Orch.; Cond., Claudio Abbado GIULIANI M, Rossiniana Fantasy No 1 Op 119 Julian Bream, guitar
Nocturne with Christopher StoneBACH JS Concerto For 3 Keyboards in C major BWV 1064 Michel Dalberto, Anne Queffelec, Pascal Devoyan; Jean-Francois Paillard Chamber Orchestra
BEETHOVEN String Quartet No 14 In C Minor Op 131 Quatuor EbeneWAGNER arr STOKOWSKI "Parsifal": Symphonic Synthesis Houston Symphony Orch.; Cond., Leopold Stokowski
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Opera with Yvonne Schwerdt
STRAUSS Joh II 'Jabuka' - The Apple Festival Jelka - Veronika Groiss, soprano; Petrija / Annita - Elisabeth Wolfbauer, mezzo-soprano; Mirko von Gradinaz - Thomas Tischler, tenor; Vasil von Gradinaz - Wolfgang Veith, tenor; Joschko - Franz Fodinger, tenor; Staklo - Alexander Eschig, baritone; Bambora - Helmut Josef Ettl, baritone; Mischa - Michael Schober, bass; Pope / Neighbor - Max Sahliger, bass; Gaudeamus Choir, Brno; European Johann Strauss Orch.; Cond., Christian Pollack
STRAUSS Joh II, 'Gesichten aus dem Wienerwald' Walzer [Waltz from 'Tales from the Vienna Woods'] Op 325 Slovak State Philharmonic Orch.; Cond. Johannes Wildner
Nocturne with Yvonne Schwerdt
GRAINGER 'To a Nordic Princess' Leslie Howard, piano
NIELSEN 'Saga Dream' Op 39 FS46 South Jutland Symph. Orch.; Cond., Niklas Willen
STANFORD Fantasy No 2 for Clarinet & String Quartet Robert Plane, clarinet; Lucy Gould, violin; Mia Cooper, violin; David Adams, viola; Alice Neary, cello
HAYDN Symphony No 99 in E-flat major Hob I:99 Royal Concertebouw Orch.; Cond., Nikolaus Harnoncourt
BEETHOVEN Piano Sonata in C major Op 2 No 3 Paul Lewis, piano
MANFREDINI Concerto Grosso in C major Op 3 No 12 Capella Istropolitana; Cond., Jaroslav Krcek
BERWALD Duo in B-flat major for Cello and Piano Mats Rondin, cello; Bengt-Ake Lundin, piano
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Opera + Nocturne with Glen Quick
STRAUSS Richard, Die Schweigsame Frau [The Silent Woman] Aminta (the Silent Woman) - Jeanette Scovotti, soprano; Sir Morosus - Theo Adam, bass; Henry Morosus - Eberhard Büchner, tenor; Schneidebart (the Barber) - Wolfgang Schöne, baritone; Haerold - Werner Haseleu, bass-baritone; Housekeeper - Annelies Burmeister, contralto; Isotta - Carola Nossek, soprano; Morbio - Hans-Joachim Rotzsch, tenor; Vanuzzi - Wilfried Vogel, tenor; Farfallo - Hermann-Christian Polster, bass
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Nocturne with Glen Quick
SCHUMANN, Robert, Symphonic Studies Op 13 Bernd Glemser, piano
KORNGOLD; Erich Wolfgang 'Lieder der Abscheids' Op 14 Stuart Skelton, tenor; BBC Symphony Orchestra; Cond., Edward Gardner
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Opera with Christopher Stone
OFFENBACH 'La Belle Helene' Hélène - Felicity Lott, soprano; Pâris - Yann Beuron, tenor; Ménélas - Michel Sénéchal, tenor; Agamemnon - Laurent Naouri, bass-baritone; Calchas - François le Roux, baritone; Les Musiciens du Louvre, Grenoble; Cond., Marc Minkowski
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OFFENBACH arr ROSENTHAL "Offenbachiana", Orchestra Philharmonique de Monte-Carlo; Cond., Manuel Rosenthal
Nocturne with Christopher Stone
BACH Concerto for 3 keyboards in D Minor BWV 1063 Michel Dalberto, Anne Queffelec & Pascal Devoyan, piano; Jean-Francois Chamber Orchestra
MOZART Serenade No 10 In B Major K361, Wind Players of the American Symphony Orch.; Cond., Leopold Stokowski
CHOPIN Allegro De Concert Op 46 Claudio Arrau, piano
CHOPIN arr STOKOWSKI Mazurka in A Minor Op 17 No 4; Prelude in D Minor Op 28 No 24; Waltz in C Minor Op 64 No 2 Stadium Symphony Orch.; Cond., Leopold Stokowski
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:09:53] with Glen Quick
[00:10:08] MARTINU Bohuslav, Juliet Or The Key To Dreams
[01:10:10] 9:10 pm - Opera + Nocturne
[02:10:12] 10:10 pm - Opera + Nocturne
[03:10:14] 11:10 pm - Opera + Nocturne
[03:39:59] with Glen Quick
[03:40:13] BACH Js, Violin Sonata Bwv 1017, Richard Togn
[03:57:00] BRAHMS JOHANNES Sonata No 2 For Violin & Piano
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08:00 PM Opera with Christopher Stone
08:04 PM PROKOFIEV War and Peace Alexandr Gergalov; Yelena Prokina; Gegam Gregorian; Olga Borodina; Yuri Marusin; Nikolai Okhotnikov; Vassily Gerelo; Kirov Orchestra & Chorus, St Petersburg / Valery Gergiev
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11:00 PM Nocturne with Christopher Stone
11:01 PM TANEYEV Piano Trio in D major Op 22 Alessandro Deljavan; piano; Daniela Cammarano; Andrea Agostinelli
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08:00 PM Opera with Yvonne Schwerdt
08:01 PM DONIZETTI Maria Stuarda Laura Polverelli; Maria Pia Piscitelli; Giovanna Lanza; Roberto De Biaso; Simone Alberghini; Mario Cassi; Form: Orchestra Filarmonico Marchigiana; Coro Lirico Marchigiano 'V. Bellini'; Davide Crescenzi, Chorus Master; Cond. Riccardo Frizza
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM ORFF arr. KOCH 'Carmina Burana' On the Green Gareth Koch, guitar 10:13 PM HILLER Piano Concerto in A-flat major Op 170 Concerto Espressivo Howard Shelley, piano; Tasmanian Symphony Orchestra; Conductor, Howard Shelley 10:45 PM DANZI Wind Quintet Op 56 No 3 Michael Thompson Wind Quintet 11:09 PM ELGAR 'In the South' Op 50 Alassio Danilo Rossi, viola; Orchestra Filarmonica Della Scala; Conductor, Riccardo Muti 11:32 PM MOZART Violin Sonata No 26 in B-flat major K378 Natsuko Yoshimoto, violin; Kathryn Selby, piano
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08:00 PM Opera with Glen Quick
[08:08 PM OFFENBACH, JACQUES 'Les Brigands' Ghislaine Raphanel, Colette Alliotlugaz, Tibere Raffali, Michel Trempont, Francois Le Roux, Thierry Dron, Jean-Luc Viala. Chorus & Orchestra of the Lyon Opera; Conductor, John Eliot Gardiner
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10:00 PM Nocturne with Glen Quick
10:00 PM LISZT, FRANZ Douze Grandes Etudes [First Version of the Transcendental Studies] Leslie Howard [piano] 11:11 PM FAURE, GABRIEL Violin Sonata No 1 in A major Op 13 Lydia Mordkovitch [violin]; Gerhard Oppitz [piano] 11:39 PM OFFENBACH, JACQUES 'Le Papillon' London Symphony Orchestra, Richard Bonynge
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08:00 PM Opera with Christopher Stone
08:04 PM VAUGHAN WILLIAMS 'Riders to the Sea' Linda Finnie; Karl Daymond; Lynne Dawson; Ingrid Attrot; Pamela Helen Stephen; Sinfonia Chorus; Northern Sinfonia / Richard Hickox
Wikipedia 'Riders to the Sea' 08:49 PM WOLF-FERRARI 'Susanna's Secret' Dora Rodrigues; Marc Canturri; Royal Liverpool Philharmonic / Vasily Petrenko
Wikipedia 'Il segreto di Susanna' 09:40 PM BERNSTEIN 'Trouble In Tahiti' Nancy Williams; Julian Patrick; Antonia Butler; Michael Clarke; Mark Brown; Columbia Wind Ensemble / Leonard Bernstein
Wikipedia 'Trouble in Tahiti'
10:30 PM Nocturne with Christopher Stone
10:31 PM MOZART Piano Concerto No 25 in C major K 503 Leonard Bernstein; Israel Philharmonic 11:07 PM BACH, J. S. Cello Suite No 2 in D minor BWV 1008 Yo-Yo Ma 11:26 PM SCHUBERT String Quartet in B-flat D 112 Diogenes Quartet
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:09:53] with Glen Quick
[00:10:09] DVORAK Antonin, The Jacobin, Prusa, Zitek, Tu
[01:10:11] 9:10 pm - Opera + Nocturne
[02:10:12] 10:10 pm - Opera + Nocturne
[02:45:56] with Glen Quick
[02:46:12] BEETHOVEN LUDWIG VAN Piano Sonata No 16 In D M
[03:09:57] MOZART W A, Piano Concerto No 14 In E Flat Ma
[03:31:58] RESPIGHI Ottorino, Violin Sonata In B Minor P
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08:00 PM Opera with Christopher Stone
08:10 PM CARLSON Anna Karenina Kelly Kaduce; Christine Abraham; William Joyner; Brandon Jovanovich; Joseph Gayer; Robert Gierlach; Sarah Coburn; Christian Van Horn; Saint Louis Symphony Orchestra / Stewart Robertson
10:00 PM Nocturne with Christopher Stone
10:31 PM CHOPIN Nocturne in G major Op 37 No 2 Sir Stephen Hough 10:37 PM SCHUBERT String Quartet in A minor D 804 Rosamunde Diogenes Quartet 11:16 PM MOZART Violin Concerto No 5 in A major K 219 Isaac Stern; Columbia Symphony Orchestra / George Szell 11:46 PM SCHUBERT Notturno for Piano Trio D 897 Lars Vogt; Christian Tetzlaff; Tanja Tetzlaff pianos
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08:00 PM Opera with Yvonne Schwerdt
08:12 PM GIORDANO Madame Sens-Gene Mirella Freni; Giorgio Merighi; Andrea Zese; Valter Borin; Mauro Buda; Marzia Giaccala; Muriel Tomao; Federica Bragaglia; Antonio Feltracco; Riccardo Ristori; Alfio Grasso; Valerio Marletta; Chorus of the Teatro Comunale of Modena; Symphony Orchestra of the Emilia Romagna "Arturo Toscanini"; Stefano Ranzani, Conductor
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM SCARLATTI, D Sonata K162 Goran Krivokapic, guitar 10:09 PM WEBER Grand Duo Concertant In E-flat major Op 48 Charles Neidich, clarinet, Robert Levin, piano 10:31 PM REINECKE Symphony No 3 in G minor Op 227 Tasmanian Symphony Orchestra Conductor Howard Shelley 11:05 PM MENDELSSOHN String Quartet No 2 in A minor Op 13 Quatuor Talich 11:35 PM DELIUS A Village Romeo and Juliet The Walk to the Paradise Garden London Symphony Orchestra; Conductor Anthony Collins
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:08:53] with Glen Quick
[00:09:07] DVORAK Antonin, Dimitri, Vodicks, Drobkova, H
[01:09:09] 9:09 pm - Opera + Nocturne
[02:09:10] 10:09 pm - Opera + Nocturne
[03:09:12] 11:09 pm - Opera + Nocturne
[03:18:58] with Glen Quick
[03:19:12] POULENC Francis, Cello Sonata Fp143, Gautie
[03:40:58] MOZART W A, Piano Sonata In C K 309, Mitsuko
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08:00 PM Opera with Christopher Stone
08:06 PM JANACEK 'The Cunning Little Vixen' Rudolf Asmus; Kveta Belanova; Antonin Votava; Vaclav Halil; Jiri Joran; Josef Vojta; Milada Cadikovicova; Hana Bohmova; Prague National Theatre Orchestra and Chorus / Vaclav Neumann 09:39 PM JANACEK 'On An Overgrown Path' - Book One Anna Goldsworthy, piano
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10:00 PM Nocturne with Christopher Stone
10:01 PM CHOPIN Nocturne in G minor Op 37 No 1 Sir Stephen Hough 10:07 PM SCHUBERT String Quartet in D major D 94 Diogenes Quartet 10:29 PM MOZART Violin Concerto No 3 in G major K 216 Isaac Stern; Cleveland Orchestra / George Szell 10:55 PM BACH, J. S. Cello Suite No 1 in G major Bwv 1007 Yo-Yo Ma, cello 11:12 PM SCHUBERT Piano Trio No 1 in B major D 898 Lars Vogt, piano; Christian Tetzlaff, violin; Tanja Tetzlaff, cello
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08:00 PM Opera with Yvonne Schwerdt
08:10 PM SULLIVAN 'The Sorcerer' Fisher Morgan; Neville Griffiths; Jeffrey Skitch; Donald Adams; Peter Pratt; Ann Drummond-Grant; Muriel Harding;Beryl Dixon; Yvonne Dean; The D'Oyly Carte Opera Company Chorus/ The New Symphony Orch; Isidore Godfrey, Conductor
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM FIELD Nocturne No 8 in A major Benjamin Frith, piano 10:06 PM CLEMENTI Fantasie with Variations au 'Clair De La Lune' Op 48 Pietro Spada, piano 10:19 PM CRUSELL Clarinet Concerto No 2 in F minor Op 5 Per Billman, clarinet; Uppsala Chamber Orch.; conducted by Gerard Korsten 10:43 PM MOZART String Quartet in C major K465 'The Dissonance' Australian String Quartet 11:16 PM MENDELSSOHN Symphony No 4 in a major Op 90 'Italian' Tasmanian Symphony Orchestra.; conducted by Sebastian Lang-Lessing 11:45 PM FIELD Nocturne No 9 in E-flat major Benjamin Frith, piano
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:09:54] with Glen Quick
[00:10:08] MARSCHNER Heinrich, Der Vampyr, Hawlata, Kauf
[01:10:10] 9:10 pm - Opera + Nocturne
[02:10:12] 10:10 pm - Opera + Nocturne
[02:18:57] with Glen Quick
[02:19:12] LISZT / VERDI Paraphrase On Rigoletto S434, Jo
[02:25:57] FRANCK Cesar, Quintet For 2 Violins, Viola, C
[03:01:57] DVORAK Antonin, Violin Concerto In A Minor Op
[03:35:58] SCHUBERT Franz, Sonata In A Major D664, Wilhe
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:09:53] with Christopher Stone
[00:10:08] LEONCAVALLO La Boheme , Bernd Weil, Lucia Popp
[01:10:10] 9:10 pm - Opera + Nocturne
[02:10:11] 10:10 pm - Opera + Nocturne
[02:30:56] with Christopher Stone
[02:31:12] CHOPIN Nocturne In A Major Op 32 No 2, Sir Ste
[02:35:57] MOZART String Quartet In A Major K 464, Melos
[03:08:57] MOZART Flute Concerto No 1 In G Major K 313, S
[03:34:58] MOZART Violin Concerto No 2 In D Major K 211,
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08:00 PM Opera with Yvonne Schwerdt
08:12 PM POULENC 'Dialogue of the Carmelites' Jose Van Dam; Catherine Dubosc; Jean-Luc Viala; Rita Gorr; Rachel Yakar; Martine Dupuy; Bargitte Fournier; Michel Senechal; Francois Le Roux; Choeur Et Orch De L'opera De Lyon; Kent Nagano, CondWikipedia
10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM BACH Orchestral Suite No 1 in C major BWV1066 Kammerorchester 'Carl Phillip Emanuel Bach'; conducted by Peter Schreier 10:26 PM SOBECK Wind Quintet in E-flat major Op 11 Albert Schweitzer Quintett 10:47 PM HILLER Piano Concerto No 2 in F-sharp minor Op 69 Howard Shelley, piano; Tasmanian Symph. Orch.; conducted by Howard Shelley 11:08 PM HOVHANESS Suite from String Quartet No 2 Shanghai String Quartet
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08:00 PM Opera with Glen Quick
08:00 PM SMETANA, BEDRICH Dalibor Urbanova, Popov, Alexeev, Schellenberger Etc. Chorus & Orchestra of Cagliari Festival Italy. Conductor Yoram David
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10:00 PM Nocturne with Glen Quick 10:19 PM BEETHOVEN LUDWIG VAN Piano Sonata No 18 In E-flat major Op31/3 Paul Lewis 10:43 PM BRUCH, MAX Kol Nidrei Lynn Harrell [Cello] Philharmonia Orchestra Conductor Ashkenazy 10:53 PM PROKOFIEV, SERGEI Cinderella Scenes from Act 2 Russian National Orchestra Cond. Pletnev 11:16 PM PROKOFIEV, SERGEI 'Summer Nights' Suite Op 123 Russian National Orchestra Cond. Pletnev 11:36 PM BACH, JS Violin Sonata In C minor BWV 1017 Tedi Paparavmi [violin] Martha Argerich [piano]
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08:00 PM Opera with Christopher Stone
08:05 PM CHERUBINI 'Medea' Maria Callas, Renata Scotto, Miriam Pirazzini, Mirto Picchi, Giuseppe Modesti, Chorus and Orchestra of La Scala, Milan / Tullio Serafin 10:18 PM BARBER Medea (Excerpt) Eastman-Rochester Orchestra / Howard HansonWikipedia
10:30 PM Nocturne with Christopher Stone
10:31 PM CHOPIN Nocturne In B major Op 32 No 1 Sir Stephen Hough 10:36 PM CHOPIN Cello Sonata In G minor Op 65 Jacqueline Du Pre; Daniel Barenboim 11:04 PM MOZART String Quartet In B major K 458 'The Hunt' Melos Quartet 11:29 PM MOZART Clarinet Concerto In A major K 622 Charles Neidich; Orpheus Chamber Orchestra
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:11:53] with Yvonne Schwerdt
[00:12:07] BERLIOZ Beatrice Et Benedict , Yvonne Minton,
[01:12:09] 9:12 pm - Opera + Nocturne
[02:00:55] with Yvonne Schwerdt
[02:01:11] KUHLAU Sonatina In F Major Op 20 No 3, Jeno Ja
[02:12:55] VIVALDI Bassoon Concerto In D Minor Rv481, Tam
[02:23:55] SAINT-LUBIN Grand Duo Concertante Op 49, Anast
[02:52:58] MENDELSSOHN Symphonyn No 1 In C Minor Op 11, T
[03:24:59] GRIEG String Quartet No 2 In F Major , Chiling
[03:55:59] BARBER Adagio For Strings Op 11, Melbourne Sym
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:09:52] with Glen Quick
[00:10:08] ZEMLINSKY A Sarema Rose Of The Caucasus, Clark
[01:10:10] 9:10 pm - Opera + Nocturne
[01:53:55] PROKOFIEV Sergei, Scene From War & Peace, Net
[02:02:56] with Glen Quick
[02:03:11] ENESCU Georges, Suite No 1 Op 3, Luiza Borac
[02:21:56] BRUCH Max, Piano Quintet In G Minor , Goldner
[02:47:56] HAYDN F J , Symphony No 49 In F Minor [La Pas
[03:11:56] MOZART W A, Piano Sonata In D K284, Mitsuko U
[03:35:58] WEBER C M, Clarinet Concerto In E Major J109,
[03:45:58] VARDAPET Komitas, Apricot Tree, Sergey Khacha
[03:48:59] BAGDASARYAN Edvard, Nocturne, Sergey Khachatr
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08:00 AM Opera with Christopher Stone
08:05 PM VERDI La Forza Del Destino Zinka Milanov; Guiseppe Di Stefano; Leonard Warren; Rosalind Elias; Giorgio Tozzi; Chorus & Orchestra of The Academy Of Santa Cecilia, Rome / Fernando Previtali
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11:00 PM Nocturne with Christopher Stone
11:01 PM CHOPIN Nocturne in D major Op 27 No 2 Sir Stephen Hough 11:07 PM MOZART String Quartet in E major K 428 Melos Quartet 11:35 PM MOZART Bassoon Concerto in B major K 191 Frank Morelli; Orpheus Chamber Orchestra
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08:00 PM Opera with Yvonne Schwerdt
[08:00 PM STRAUSS, R 'Arabella' Otto Edelmann; Ira Malaniu; Lisa Della Casa; Hilde Gueden; George London; Anton Dermota; Waldemar Kmentt; Eberhard Waechter; Harald Proglhof; Mimi Coertse; Judith Hellwig; Vienna State Opera Chorus; Vienna Philharmonic Orch; Sir Georg Solti, Cond
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM WEBER Flute Sonata Op 10 No 6 Emmanuel Pahud, Flute; Eric Le Sage, Piano 10:09 PM HILL Symphony No 3 in B minor Australia Queensland Symph, Orch., Cond Wilfred Lehmann 10:37 PM MOZART Piano Quartet in G minor K478 Jacqui Cronin, Viola; Alexei Yemtsov, Piano; Helen Ayres, Violin; Timothy Nankervis, Cello 11:01 PM SAINT-SAENS 'Etienne Marcel' - Entree to Finale Ballet Music Orchestra Victoria.; Cond. Guillaume Tourniaire 11:20 PM FAURE Fantasia in A-flat major Op 84 No 2 Tessa Birnie, Piano
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08:00 PM Opera with Glen Quick
08:00 PM STRAUSS, RICHARD 'Daphne' Schoffler, Gueden, Little, Wunderlich, King, Braun, Equiliz, Progghlof, Welter, Streich, Mechera. Vienna State Opera Chorus & Vienna Symphony Orchestra Conductor Karl Bohm 09:35 PM STRAUSS, RICHARD / RUDOLF KEMPE Waltz Suite from 'Der Rosenkavalier' Dresden Staatskapelle Conductor Rudolf Kempe
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10:00 PM Nocturne with Glen Quick 10:00 PM BRAHMS, JOHANNES Double Concerto Ferras [Violin] Tortelier [Cello] Philharmonia Orchestra Conductor Kletzki 10:33 PM DVORAK, ANTONIN Violin Sonata in F Opus 57 Jack Liebeck [Violin] Katya Apekisheva [Piano] 10:55 PM SCHUMANN, ROBERT Piano Quartet in E-flat Op 47 Argerich, R Capucon, Chen, G Capucon 11:23 PM HAYDN, FJ Symphony No 103 in E-flat major 'Drumroll' Philharmonia Hungarica Conductor Dorati
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08:00 PM Opera with Christopher Stone
08:00 PM PUCCINI 'Tosca' Leontyne Price; Giuseppe Di Stefano; Giuseppe Taddei; Carlo Cava; Fernando Carena; Piero De Palma; Vienna State Opera Chorus; Vienna Philharmonic Orchestra / Herbert Von Karajan
10:00 PM Nocturne with Christopher Stone
10:01 PM CHOPIN Nocturne in G-sharp minor Op 27 No 1 Sir Stephen Hough 10:07 PM MOZART Sinfonia Concertante in E major K297B Orpheus Chamber Orchestra 10:38 PM LISZT Funerailles Arthur Rubinstein 10:50 PM SCHUBERT Rondo for Violin & Piano D895 Christian Tetzlaff; Lars Vogt 11:04 PM TCHAIKOVSKY String Quartet No 1 in D major Op 11 Emerson String Quartet 11:30 PM MOZART Violin Concerto No 1 in B major K207 Isaac Stern; Columbia Symphony Orch / George Szell
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08:00 PM Opera with Yvonne Schwerdt
08:13 PM HALEVY, Fromental 'La Juive' Jose Carreras; Julia Varady; Dalmacio Gonzales; June Anderson; Ferruccio Furlanetto; Rene Massis; Rene Schirrer; Ambrosian Opera Chorus; Philharmonia Orch; Antonio De Almeida, Cond
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM MACDOWELL Woodland Sketches Op 51 Vivian Rifkin, Piano 10:21 PM KALLIWODA Oboe Concertino In F minor Op 110 Diana Doherty, Oboe; Queensland Symph. Orch.; Cond. Werner Andreas Albert 10:38 PM SATIE The Dreamy Fish Stephanie Mccallum, Piano
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:10:52] with Glen Quick
[00:11:08] GIORDANO Umberto, Fedora, Olivero, Del Monaco
[01:11:09] 9:11 pm - Opera + Nocturne
[01:59:56] with Glen Quick
[02:00:10] BRAHMS Johannes, Variations & Fugue On A Them
[02:25:56] SAINT SAENS Camille, Septet In E Flat Major O
[02:42:57] HAHN Reynaldo, Violin Sonata In C Major, Elen
[03:05:57] RACHMANINOV Sergei, Morceau De Fantaisie Op 3
[03:26:58] BRAHMS Johannes, Waltzes Op 39, Barry Douglas
[03:46:58] SAINT SAENS Camille, Tarentelle In A Min For
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[00:00:00] 8:00 pm - Opera + Nocturne
[00:04:53] with Christopher Stone
[00:05:08] MOZART The Magic Flute, Barbara Hendricks; Jer
[01:05:10] 9:05 pm - Opera + Nocturne
[02:05:11] 10:05 pm - Opera + Nocturne
[03:00:57] with Christopher Stone
[03:01:12] MOZART Sonata For Piano 4 Hands In D Major K38
[03:16:57] MOZART String Quartet In G Major K387, Melos Q
[03:45:58] MOZART arr BUSONI Fantasia In F Minor K608, Ma
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08:00 pm - Opera with Yvonne Schwerdt
08:12 PM PROKOFIEV Love for Three Oranges Bruce Martin; John Macmaster; Deborah Humble; Teddy Tahu Rhodes; William Ferguson; Warwick Fyfe; Jud Arthur; Elizabeth Whitehouse; Wendy Dawn Thompson; Sally-Anne Russell; Ali Mcgregor; Arend Baumann; Richard Alexander; Catherine Carby; Graeme Macfarlane; Dim Dufore; Aust Opera & Ballet Orch; Richard Hickox, Cond.
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM PROKOFIEV Love for Three Oranges Op 33A March Roger Woodward, Piano 10:03 PM SAINT-SAENS Symphony in F major Urbs Roma Orchestre National De L'o.r.t.f.; Cond Jean Martinon 10:45 PM MOZART Piano Sonata in F major K533 David Ward, Piano 11:10 PM RESPIGHI Ancient Airs & Dances Suite No 2 Lausanne Chamber Orch.; Cond. Jesus Lopez-Cobos 11:29 PM BEETHOVEN Sonata No 7 in C minor for Violin & Piano Op 30 No 2 Niki Vasilakis, Violin; Caroline Almonte, Piano 11:57 PM ORDONEZ Sinfonia in A minor Brown Gm7 Toronto Camerata; Cond. Kevin Mallon
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08:00 PM Opera with Glen Quick
08:12 PM DONIZETTI Lucrezia Borgia Sutherland, Horne, Aragall, Wixell, Clark, Visser, Brocheler, De Palma, Van Allan, Ewer, Zaccaria National Philharmonic, Conductor Bonynge
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10:26 PM Nocturne with Glen Quick
10:27 PM BACH, JS Violin Sonata Bwv 1017 Paparavni [Violin] Argerich [Piano] 10:43 PM ALKAN,CHARLES VALENTIN Cello Sonata in E major Op 47 Gerhardt, Cello, Osborne [Piano] 11:16 PM ZEMLINSKY, ALEXANDER Trio in D minor for Clarinet, Cello & Piano Muller [Cello] Ottensamer [Clart], Hinterhuber [Piano]
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08:00 PM Opera with Christopher Stone
08:10 PM TCHAIKOVSKY The Enchantress Mikhail Kiselev; Vera Borisenko; Georgy Nelepp; Aleksey Korolev; Anna Matyuchina; Mikhail Skazin; Natalya Sokolova; Ussr Radio Large Chorus; Moscow Philharmonic Orchestra / Samuil Samosud
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11:00 PM Nocturne with Christopher Stone
11:01 PM RIMSKY-KORSAKOV Quintet in B-flat Felicia Blumental; Members of New Philharmonia Wind Ensemble 11:27 PM TCHAIKOVSKY Serenade Melancolique Op 26 Salvatore Accardo; Bbc Symphony / Sir Colin Davis
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08:00 PM Opera with Yvonne Schwerdt
08:11 PM PUCCINI La Fanciulla Del West Carol Neblett, Soprano; Placido Domingo, Tenor; Sherrill Milnes, Baritone; Francis Egerton,Jonathon Summers, John Dobson, Malcolm Rivers, Tom Mcdonnell, Paul Crook, Robin Leggate, William Elvin, Malcolm King, Anne Wilkens, Gwnne Howell; Orchestra & Chorus Of The Royal Opera House, Covent Garden.; Cond. Zubin Mehta
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM HUMMEL Fantaisie in E-flat major Op 18 Madoka Inui, Piano 10:25 PM RODRIGO Concierto de Aranjuez Concerto for Guitar & Orchestra Slava Grigoryan, Guitar; Queensland Orch.; Cond. Brett Kelly 10:49 PM HAYDN String Quartet in E-flat maj Op 20 No.1 Hob.III:31 Tinalley String Quartet 11:08 PM DVORAK Serenade forStrings in E major Op 22 Cologne New Phil. Orch.; Cond. Volker Hartung; [Junge Philharmonie Koln]
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08:00 PM Opera with Glen Quick
08:07 PM TCHAIKOVSKY, P.I. Opritchnik Savenko, Lassoskaya, Ulianov, Doljnko, Grivnov, Dursenova, Ognovenko, De Mola.Orchestra & Chorus Of Teatro Lirico di Cagliari, Conductor Gennadi Rozhdestvensky
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11:07 PM Nocturne with Glen Quick
11:17 PM RACMANINOV, SERGE Preludes Opus 23 Nos 4, 6 11 Opus 32 Nos 5,10,12 Vladimir Ashkenazy [Piano]
11:41 PM LISZT, FRANZ Transendental Studies No 11 & 12 Evgenny Kissin [Piano]
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08:00 PM Opera with Christopher Stone
08:05 PM RAVEL L'heure Espagnole Jane Berbie; Jean Giraudeau; Gabriel Bacquier; Jose Van Dam; Michel Senechal; Berlin Radio Symphony Orchestra / Lorin Maazel
Wikipedia 08:56 PM RAVEL L'enfant et les Sortilèges Francois Ogeas; Jaenine Collard; Jane Berbie; Sylvaine Gilma; Colette Herzog; Heinz Rehfuss; Camille Mauren; Michel Senegal; Berlin Radio Symphony Orchestra / Lorin Maazel
Wikipedia 09:40 PM RAVEL Cinq Melodies Populaires Greques James Gilchrist; Alison Nicholls 09:49 PM RAVEL Don Quichotte À Dulcinée Gérard Souzay, Baritone; L'orchestre De La Société Des Concerts du Conservatoire De Paris; Cond. Edouard Lindenberg
10:00 PM Nocturne with Christopher Stone
10:01 PM CHOPIN Nocturne in G minor Op 15 No 3 Sir Stephen Hough 10:05 PM BRAHMS Clarinet Sonata No 2 in E Major Op 120 No 2 Paul Dean; Stephen Emmerson 10:29 PM HAYDN String Quartet No 59 in E Major Op 54 No 3 Pro Arte Quartet 10:47 PM SCHUBERT Rondo for Violin & Piano D 895 Christina Tetzlaff; Lars Vogt 11:02 PM MENDELSSOHN Piano Trio No 1 in D Minor Op 49 Martha Argerich; Renaud Capucon; Gautier Capucon 11:29 PM TCHAIKOVSKY Quartet Movement in B Flat Endellion String Quartet 11:42 PM RACHMANINOV Trio Elegiaque No 1 in G Minor Moscow Trio
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8:00 PM Opera with Yvonne Schwerdt
08:10 PM GLUCK Orfeo ed Euridice Derek Lee Ragin; Sylvia Mcnair; Cyndia Sieden; Monteverdi Choir; English Baroque Soloists; John Eliot Gardiner, Cond 09:39 PM GLUCK La clemenza di Tito Se Mai Senti Spirarti Sul Volto Cecilia Bartoli, Mezzo; Akademie Fur Alte Musik Berlin; Berhard Forck, Leader
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM DEBUSSY Images Book I Reflections in the Water; Homage To Rameau; Movement Stephen Mcintyre, Piano 10:18 PM VAUGHAN WILLIAMS Partita for Double String Orchestra London Philharmonic Orch; Cond. Adrian Boult 10:40 PM BERWALD Piano Quintet No 1 in C minor Bengt-Ake Lundin, Pno.; Uppsala Chamber Soloists 11:07 PM BEETHOVEN Symphony No 2 in D major Op 36 Sydney Symphony. Orchestra, Cond. Eugene Goossens 11:41 PM BRAHMS Trio for Clarinet, Cello & Piano In A Min Op 114 Svetlana Bogosavljevic, Cello; David Griffiths, Clarinet; Timothy Young, Piano 12:07 AM BACH Air [Orchestral Suite No.3 BWV1068] David Bell, Organ; Berliner Philharmoniker; Cond. Herbert von Karajan
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08:00 PM Opera with Glen Quick
08:09 PM GIORDANO, UMBERTO Andrea Chenier Domingo, Scotto, Milnes, Kraft, Ewing, Senechal, National Philharmonic Orchestra, John Alldis; Choir Conductor, James Levine
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10:00 PM NOCTURNE with Glen Quick
10:00 PM FALLA MANUEL DE Nights in the Gardens of Spain Jean-Francis Heisser [Piano] Chamber Orchestra Of Lausanne Conductor Jesus Lobez -Cobos 10:23 PM BEETHOVEN, LUDWIG VAN Piao Trio in D Op 70 No 1 "Ghost" Argerich [Piano] Capucon [Violin] Maisky [Cello] 10:49 PM HAYDN, FJ Symphony No 30 in C Major [Hornsignal] Philharmonia Hungarica Cond. Antal Dorati 11:15 PM MASSENET, JULES Scenes Alsaciennes National Philharmonic Orchestra; Conductor Richard Bonynge 11:39 PM DELIBES ARR DOHNANYI Naila Waltz Piers Lane [Piano]
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8:00 PM Opera with Christopher Stone
08:10 PM PONCHIELLI La Gioconda Zinka Milanov; Giuseppe Di Stefano; Leonard Warren; Rosalind Elias; Orchestra & Chorus Of The Academy Of Santa Cecilia, Rome / Fernando Previtali
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11:00 PM Nocturne with Christopher Stone 11:01 PM CHOPIN Nocturne In F Major Op 15 No 2 Sir Stephen Hough 11:05 PM HAYDN String Quartet No 57 In C Major Op 54 No 2 Pro Arte Quartet 11:23 PM BRAHMS Clarinet Sonata No 1 In F Minor Op 120 No 1 Paul Dean; Stephen Emmerson 11:47 PM SCHUBERT Notturno D 897 Lars Vogt; Christian Tetzlaff; Tanja Tetzlaff
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8:00 PM Opera with Yvonne Schwerdt
08:10 PM BELLINI I Capuleti E I Montecchi Jennifer Larmore; Hei-Kyung Hong; Paul Groves; Raymond Aceto; Robert Lloyd; Scottish Chamber Orchestra & Choru8S; Donald Runnicles, Cond
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10:00 PM Nocturne with Yvonne Schwerdt
10:01 PM BACH Cello Sonata No 2 In D Major Bwv1028 Mischa Maisky, Cello; Martha Argerich, Piano 10:17 PM CLEMENTI Symphony No 1 In C Major Philharmonia Orch.; Cond. Claudio Scimone 10:44 PM STANFORD Fantasy No 2 For Clarinet And String Quartet Robert Plane, Clarinet; Lucy Gould, Violin; Mia Cooper, Violin; David Adams, Viola; Alice Neary, Cello 10:59 PM HARTMANN, E Nordic Folk Dances Scherzo Op 18; Old Memories Op 6A; The Elf-Maids And The Hunters Op 6B; Halling And Minuet Wedding Music Op 2; Spring Dance Op 32 Copenhagen Philharmonic Orchestra; Cond. Bo Holten 11:25 PM WEBER Variations On A Russian Air Op 40 Stephanie Mccallum, Piano
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8:00 PM - Opera + Nocturne with Glen Quick
08:06 PM MASSENET, JULES Cherubin Frederica Von Stade, Dawn Upshaw, Samuel Ramey, June Anderson, Chorus & Orchestra Of Munich Radio & Choir Of Bavarian State Opera. Conductor Pinchas Steinberg
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10:00 PM BEETHOVEN LUDWIG VAN Violin Sonata No 9 In A Major Op 47 [Kreutzer] Itzhak Perlman [Violin] Vladimir Ashkenazy [Piano] 10:37 PM TCHAIKOVSKY, P I Piano Trio Op 50 In A Minor Shani,[Piano] R Capucon [Violin] Soltani [Cello] 11:17 PM DUPARC, HENRI La Vie Anterieure / Phidyle / Chanson Triste / L'invitation Au Voyage Jessye Norman [Soprano] Dalton Baldwin [Piano] 11:34 PM HANDEL, G F Keyboard Suite No 1 In A Minor Hwv426 Keith Jarrett [Piano]
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8:00 pm - Opera with Christopher Stone
08 PM GETTY G. Usher House Christian Elsner; Etienne Dupuis; Phillip Ens; Lisa Delan; Benedict Cumberbatch; Gulbenkian Orchestra / Lawrence Foster
Wikipedia 09:23 PM HURD The Aspen Papers Owen Gilhooly; Pippa Goss; Clare Mccaldin; Louise Winter; Ulster Orchestra / George Vass11PM NOCTURNE with Christopher Stone 11:01 PM COPLAND Quiet City Boston Pops Orchestra / John Williams
11:12 PM BERNSTEIN, L. Seven Anniversaries Leonard Bernstein
11:24 PM MACDOWELL Piano Concerto No 2 In D Minor Op 23 Van Cliburn; Chicago Symphony Orchestra / Walter Hendl
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[00:00:00] 8:00 pm - Opera with Yvonne Schwerdt
[00:09:09] LEHÁR Eva, Morenike Fadayami; Zora Antonic; Reinhard Alessandri; Thomas Malik; Gerhard Balluch; Thomas Zisterer; Chorus Of The Lehar Festivals Bad Ischl; Franz Lehar-Orchestra; Wolfgang Bozic, Cond
[02:00:55] Nocturne with Yvonne Schwerdt
[02:01:12] BEETHOVEN Piano Sonata No 30 In E Major Op 109, Ronald Farren-Price, Piano
[02:21:58] MOZART Violin Concerto No 5 In A Major K219, Richard Tognetti, Violin; Australian Chamber Orchestra.; Cond. Richard Tognetti
[02:50:58] HOVHANESS Symphony No 4 Op 165, Royal Scottish Academy Of Music And Drama Wind Orch.; Cond. Keith Brion
[03:11:58] BEACH 5 Improvisations For Piano Op 148, Michel Legrand, Piano
[03:20:00] BOIELDIEU Harp Concerto In C Major, Marielle Nordman, Harp; Franz Liszt Chamber Orch. Cond. Jean-Pierre Rampal
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[00:00:00] 8:00 pm - Opera + Nocturne with Glen Quick
[00:12:10] STRAUSS R, Die Liebe Der Danae, Arleen Saunders, Norman Baillie, Rosalind Plowright, Kenneth Woollam, John Dobson, BBC Symphony Orchestra & Chorus Conductor Sit Charles Mackerras
[02:52:56] NOCTURNE with Glen Quick
[02:53:13] BACH JS, Cantata For Contralto & Strings & Organ BWV 170 Magdalena Kozena [Alto] Musiqua Antiqua Koln Conductor Reinhard Goebels
[03:09:57] BLOCH E, Schelomo, Natalie Clein [Cello] BBC Scottish SO Conductor Ilan Volkov
[03:29:58] BLOCH E arr Christopher Palmer, From Jewish Life Natalie Clein [Cello] Bbc Scottish So Conductor Ilan Volkov
[03:38:59] BACH JC, Symphony In E Flat Op 9 No 2, ECO Bonynge
[03:51:00] AUBER D, Oh Pour Une Jeune Coeur [Le Cheval De Bronze] Huguette Tourangeau Orchestre De La Suisse Romande Conductor Bonynge
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[00:00:00] 8:00 pm with Christopher Stone
[00:10:08] DEBUSSY Pelleas Et Melisande, Francois Le Roux; Maria Ewing; Jose Van Dam; Jean-Philippe Courtis; Christa Ludwig; Vienna State Opera Chorus; Vienna Philharmonic Orchestra / Claudio Abbado
[02:37:58] DEBUSSY Suite Bergamasque, Zoltan Kocsis
Wikipedia[03:00:57] NOCTURNE with Christopher Stone
[03:01:14] DEBUSSY Apres-Midi D'Un Faune, Cleveland Orchestra / Pierre Boulez
[03:09:58] DEBUSSY String Quartet, Melos Quartet
[03:34:59] DEBUSSY Fantaisie For Piano & Orchestra, Jean-Rodolphe Kars; London Symphony Orchestra / Sir Alexander Gibson
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[00:00:00] with Yvonne Schwerdt
[00:08:11] ROSSINI Il Turco In Italia, Natale De Carolis
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[02:00:56] NOCTURNE - Yvonne Schwerdt
[02:01:12] SIBELIUS Two Pieces Op 77, Truls Mork
[02:11:57] MOZART, WA Violin Concerto No 3 In G Major K216
[02:34:57] CHOPIN F Nocturne No 12 In G Major Op 37 No 2
[02:41:58] CHOPIN F Nocturne No 13 In C Min. Op 48 No
[02:48:58] GRIEG E Symphony In C Min,Malmo Symph. Orc
[03:21:59] VINE C Love Me Sweet,Diana Doherty
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with Glen Quick
08:07 PM REZICEK, EMIL Donna Diana Wittges, Uhl, Wittlieb, Kreusch, Sadnik, Schopflin, Klein, Pauly, Schluter. Kiel Opera Chorus & Orchestra Conductor Ulrich Windfuhr
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10PM NOCTURNE with Glen Quick
10:00 PM SCHUMANN, ROBERT Piano Quartet In E Flat Op 47 Argerich, R Capucon, G Capucon, Chen 10:28 PM GULDA, FRIEDRICH Concerto For Cello & Wind Orchestra G Capucon [Cello] Members Of Orchestra De La Svizzeria Italiana 11:00 PM RAVEL, MAURICE Violin Sonata Op Posth. P110 Andrey Baranov [Violin] Jura Margulis [Piano] 11:16 PM BEETHOVEN, LUDWIG VAN Cello Sonata No 2 In G Minor Op 5 No 2 Argerich [Piano] Mischa Maisky [Cello] 11:40 PM DEBUSSY, CLAUDE Petite Suite For Piano 4 Hands Argerich, Marton
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with Glen Quick
MEYERBEER, GIACOMO 'Robert Le Diable' Mok,Surian, Coodeluppi, Ciofi, Raspagliosi, Colaianni, Hyun-Dong, Lopez, Kang, Codella. Bratislava Chamber Choir & Orchestra Internazioanle D'italia Conductor Renato Palumbo
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11:33 PM Nocture with Glen Quick
11:33 PM BRAHMS, J. Paganin Variations Op 35 Cecile Ousset [Piano]
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with Christopher Stone
08:08 PM OFFENBACH The Grand Duchess Of Gerolstein Dame Felicity Lott; Sandrine Piau; Yann Beuron; Franck Leguerinel; Eric Suchet; Francois Le Roux; Les Musiciens Et Choquer Des Musiciens Du Louvre / Marc Minkowski
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10:30PM NOCTURNE with Christopher Stone
10:31 PM CHOPIN Nocturne In F Major Op 15 No 1 Sir Stephen Hough 10:36 PM HAYDN String Quartet In G Major Op 54 No 1 Pro Arte Quartet 10:53 PM BACH, J.S. French Suite No 1 In D Minor BWV 812 Glenn Gould 11:06 PM TANEYEV Piano Quintet In G Minor Op 30 Daniele Orlando, Daniela Cammarano, Violins; Paolo Castellitto, Viola; Andrea Agostinelli, Cello; Alessandro Deljavan, Piano
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with Glen Quick
MASSENET - 'Manon'
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10:50 pm Nocturne with Glen Quick
10:50 PM L'OEILLET, Jean-Baptiste Keyboard Suite In E Minor Piers Lane [piano]
11:00 PM BEETHOVEN, Ludwig van Septet In E Flat Major Op 20 wigmore Soloists
11:39 PM SCHUBERT / HESS German Dances & Waltzes Piers Lane [piano]
11:49 PM GODARD, Benjamin Mazurka No 2 In B Flat Major Piers Lane [piano]
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with Yvonne Schwerdt
8:01 PUCCINI Madama Butterfly Renata Tebaldi; Carlo Bergonzi; Fiorenz Cossotto, Enzo Sordelio; Angelo Mercuriali; Paolo Washington; Chorus & Orch Of The Academu Of St Cecelia, Rome; Tulio Serafin, Cond
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10:30 pm Nocturne with Yvonne Schwerdt
10:32 TCHAIKOVSKY String Quartet No 3 In E Flat Minor Op 30 Borodin String Quartet
11:11 HOFFMEISTER Viola Concerto In D Major Victoria Chiang, Violin; Baltimore Chamber Orch; Markand Thakar, Cond.
11:32 MOZART Piano Sonata No 8 In A Minor K310 Dinu Lipatti, Piano
11:48 AVISON, C. Concerto Op.6, No.10, C Maj Avison Ensemble; Dir. Pavlo Beznosiuk
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Christopher Stone
BRITTEN Gloriana [148.13]
Josephine Barstow; Philip Langridge; Della Jones; Jonathan Summers; Yvonne Kenny; Alan Opie; Richard Van Allen; Bryn Terfel; Willard White; John Mark Ainsley; Chorus & Orchestra of the Welsh National Opera / Sir Charles Mackerras
Wikipedia
BRITTEN Simple Symphony Op 4 [15.56]
11 pm Nocturne with Christopher Stone
BRITTEN Moderato & Nocturne [52.40]
BEETHOVEN String Quartet No 15 in A minor Op 132 [38.14]
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Yvonne Schwerdt
PAISIELLO Nina o sia la Pazza per Amore [119.46]
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11pm NOCTURNE with Yvonne Schwerdt
BEETHOVEN Sonata No 10 in G major for Violin and Piano Op 96 [28.02]
CLEMENTI Symphony No 3 in G major [27.00]
STAMITZ Concertante Quartet in B flat major Op 14 No 5 [15.00]
BACH, CPE Sonata in A major Wq55/4 H186 [13.25]
HANDEL Organ Concerto No 4 in F major Op 4 [15.42]
ELGAR Chanson de Nuit Op 15 No 1 [4.00]
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5MBS Program Guide
Glen Quick
ZEMLINSKY Die Zwerg [86.31]
https://en.wikipedia.org
ZEMLINSKY A Florentine Tragedy [53.37]
https://en.wikipedia.org/wiki/Eine_florentinische_Trag%C3%B6die
https://en.wikipedia.org
10:28 pm NOCTURNE with Glen Quick
LEKEU Violin Sonata in G major [32.38]
SAINT-SAËNS Septet in E flat major Op 65 [16.34]
DEBUSSY Estampes [15.11]
KRÁSA String Quartet [21.42]
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Christopher Stone
Program details at 5MBS.com
VERDI Aida [150.03]
VERDI Te Deum [15.45]
10pm NOCTURNE with Christopher Stone
BACH Partita No 4 in D major BWV828 [25.03]
BEETHOVEN String Quartet No 12 in E major Op 12 [32.55]
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5MBS Volunteer Presenter Christopher Stone
MOZART 'Marriage of Figaro'
Roles :
Count Almaviva : baritone Alessandro Corbelli
Countess Rosina Almaviva: soprano Carol Vaness
Susanna, the countess's maid: soprano Nuccia Focile
Figaro, personal valet to the count: bass-baritone Alastair Miles
Cherubino, the Count's page: soprano Suzanne Mentzer
Marcellina: mezzo-soprano Suzanne Murphy
Bartolo, doctor from Seville, also a practising lawyer: bass Alfonso Antoniozzi
Basilio, music master tenor: Ryland Davies
Don Curzio, judge: Ryland Davies
Barbarina, Antonio's daughter: soprano Rebecca Evans
Antonio, the Count's gardener, Susanna's uncle: baritone or bass Alfonzo Antoniozzi
Chorus of peasants, villagers, and servants
Scottish Chamber Orchestra Chorus / Scottish Chamber Orchestra / Conductor Sir Charles Mackerras
Synopsis
The action of The Marriage of Figaro is a continuation of the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle giornata) in the palace of the Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to obtain the favours of Figaro's bride-to-be, Susanna. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He responds by trying to legally compel Figaro to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.
Place: Count Almaviva's palace (French: château) of Aguas-Frescas, three leagues outside Seville, Spain.
Act 1:
A partly furnished room, with a chair in the centre.
Figaro is happily measuring the space where the bridal bed will fit while Susanna is trying on her wedding bonnet in front of the mirror (in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding "capellino"). (Duet: Cinque, dieci, venti, trenta – "Five, ten, twenty, thirty"). Figaro is quite pleased with their new room; Susanna far less so. She is bothered by its proximity to the Count's chambers: it seems he has been making advances toward her and plans on exercising his "droit de seigneur", the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her. The Count had the right abolished when he married Rosina, but he now wants to reinstate it. Figaro is livid and plans to outwit the Count (Cavatina: Se vuol ballare, signor contino – "If you want to dance, sir Count").
Figaro departs, and Dr. Bartolo arrives with Marcellina, his old housekeeper. Marcellina has hired Bartolo as her counsel, since Figaro had once promised to marry her if he should default on a loan she had made to him, and she intends to enforce that promise. Bartolo, still irked at Figaro for having facilitated the union of the Count and Rosina (in The Barber of Seville), promises, in comical lawyer-speak, to help Marcellina (aria: La vendetta – "Vengeance").
Bartolo departs, Susanna returns, and Marcellina and Susanna share an exchange of very politely delivered sarcastic insults (duet: Via, resti servita, madama brillante – "After you, brilliant madam"). Susanna triumphs in the exchange by congratulating her rival on her impressive age. The older woman departs in a fury.
Cherubino then arrives and, after describing his emerging infatuation with all women and particularly with his "beautiful godmother" the Countess (aria: Non so più cosa son – "I don't know any more what I am"), asks for Susanna's aid with the Count. It seems the Count is angry with Cherubino's amorous ways, having discovered him with the gardener's daughter, Barbarina, and plans to punish him. Cherubino wants Susanna to ask the Countess to intercede on his behalf. When the Count appears, Cherubino hides behind a chair, not wanting to be seen alone with Susanna. The Count uses the opportunity of finding Susanna alone to personally step up his demands for favours from her, including financial inducements to sell herself to him. As Basilio, the slimy music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Cherubino leaves that hiding place just in time, and jumps onto the chair while Susanna scrambles to cover him with a dress. Now the Count is behind the chair and Cherubino is on the chair covered by a dress.
When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place. Lifting the dress from the chair he finds Cherubino. The young man is only saved from punishment by the entrance of the peasants of the Count's estate, this entrance being a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing the promise of Susanna's entering into the marriage unsullied. The Count evades Figaro's plan by postponing the gesture. The Count says that he forgives Cherubino, but he dispatches him to Seville for army duty. Figaro gives Cherubino advice about his new, harsh, military life from which women will be totally excluded (aria: Non più andrai – "No more gallivanting").
Act 2:
A handsome room with an alcove, a dressing room on the left, a door in the background (leading to the servants' quarters) and a window at the side.
The Countess laments her husband's infidelity. (aria: Porgi, amor, qualche ristoro – "Grant, love, some comfort"). Susanna comes in to prepare the Countess for the day. She responds to the Countess's questions by telling her that the Count is not trying to "seduce" her, he is merely offering her a monetary contract in return for her affection. Figaro enters and explains his plan to distract the Count with anonymous letters warning him of adulterers. He has already sent one to the Count (via Basilio) that indicates the Countess has a rendezvous that evening of her own. They hope that the Count will be too busy looking for imaginary adulterers to interfere with Figaro's and Susanna's wedding. Figaro additionally advises the Countess to keep Cherubino around by dressing him as a girl. Figaro leaves.
Cherubino arrives, eager to be dressed up by the Countess and Susanna. Susanna urges him to sing the song he wrote for the Countess (aria: Voi che sapete che cosa è amor – "You ladies who know what love is; is it what I'm suffering from?"). After the song, they proceed to attire him in women's clothes (aria of Susanna: Venite, inginocchiatevi! – "Come, kneel down before me"). At this time, the Countess sees Cherubino's military commission, and notes that the Count was in such a hurry that he forgot to seal it with his signet ring (which was necessary to make it an official document). Susanna returns to her room for some clothing in which to dress Cherubino. While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving. Cherubino hides in the closet. The Count demands to be allowed into the room and the Countess reluctantly unlocks the door. The Count enters and hears a noise from the closet. He tries to open it, but it is locked. The Countess tells him it is only Susanna, trying on her wedding dress. The Count shouts for her to identify herself by her voice, but the Countess orders her to be silent. At this moment, Susanna re-enters unobserved, quickly realises what's going on, and hides behind a couch (Trio: Susanna, or via sortite! – "Susanna, come out!"). Furious and suspicious, the Count leaves, with the Countess, in search of tools to force the closet door open. As they leave, he locks all the bedroom doors to prevent the intruder from escaping. Cherubino and Susanna emerge from their hiding places, and Cherubino escapes by jumping through the window into the garden. Susanna then takes his place in the closet, vowing to make the Count look foolish. (duet: Aprite, presto, aprite – "Open the door, quickly!").
The Count and Countess return. The Countess desperately admits that Cherubino is hidden in the closet. The raging Count draws his sword, promising to kill Cherubino on the spot, but when the door is opened, they both find to their astonishment only Susanna. The Count demands an explanation; the Countess tells him it is a practical joke, to test his trust in her. Shamed by his jealousy, the Count begs for forgiveness. When the Count presses about the anonymous letter, Susanna and the Countess reveal that the letter was written by Figaro, and then delivered through Basilio. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of the window and broken his flowerpots. The Count immediately realizes that the jumping fugitive was Cherubino, but Figaro claims it was he himself who jumped out the window, and fakes a foot-injury. Antonio brings forward a paper which, he says, was dropped by the escaping man. The Count orders Figaro to prove he was the jumper by identifying the paper (which is, in fact, Cherubino's appointment to the army). Figaro is able to do this because of the cunning teamwork of the two women. His victory is, however, short-lived; Marcellina, Bartolo, and Basilio enter, bringing charges against Figaro and demanding that he honor his contract to marry Marcellina. The Count happily postpones the wedding in order to investigate the charge.
Act 3:A rich hall, with two thrones, prepared for the wedding ceremony.
The Count mulls over the confusing situation. At the urging of the Countess, Susanna enters and gives a false promise to meet the Count later that night in the garden (duet: Crudel, perché finora – "Cruel girl, why did you make me wait so long"). As Susanna leaves, the Count overhears her telling Figaro that he has already won the case. Realizing that he is being tricked (aria: Hai già vinta la causa ... Vedrò mentr'io sospiro – "You've already won the case?" ... "Shall I, while sighing, see"), he resolves to make Figaro pay by forcing him to marry Marcellina.
Figaro's trial follows, and the judgment is that Figaro must marry Marcellina. Figaro argues that he cannot get married without his parents' permission, and that he does not know who his parents are, because he was stolen from them when he was a baby. The ensuing discussion reveals that Figaro is the long-lost illegitimate son Rafaello of Bartolo and Marcellina. A touching scene of reconciliation occurs. During the celebrations, Susanna enters with a payment to release Figaro from his debt to Marcellina. Seeing Figaro and Marcellina in celebration together, Susanna mistakenly believes that Figaro now prefers Marcellina over her. She has a tantrum and slaps Figaro's face. Figaro explains, and Susanna, realizing her mistake, joins the celebration. Bartolo, overcome with emotion, agrees to marry Marcellina that evening in a double wedding (sextet: Riconosci in questo amplesso una madre – "Recognize a mother in this hug").
All leave, and the Countess, alone, ponders the loss of her happiness (aria: Dove sono i bei momenti – "Where are they, the beautiful moments"). Susanna enters and updates her regarding the plan to trap the Count. The Countess dictates a love letter for Susanna to give to the Count, which suggests that he meet her that night, "under the pines". The letter instructs the Count to return the pin which fastens the letter. (duet: Sull'aria...che soave zeffiretto – "On the breeze… What a gentle little Zephyr").
A chorus of young peasants, among them Cherubino disguised as a girl, arrives to serenade the Countess. The Count arrives with Antonio, and, discovering the page, is enraged. His anger is quickly dispelled by Barbarina (a peasant girl, Antonio's daughter), who publicly recalls that he had once offered to give her anything she wants, and asks for Cherubino's hand in marriage. Thoroughly embarrassed, the Count allows Cherubino to stay.
The act closes with the double wedding, during the course of which Susanna delivers her letter to the Count. Figaro watches the Count prick his finger on the pin, and laughs, unaware that the love-note is from Susanna herself. As the curtain drops, the two newlywed couples rejoice.
Act 4:
The garden, with two pavilions. Night.
Following the directions in the letter, the Count has sent the pin back to Susanna, giving it to Barbarina. Unfortunately, Barbarina has lost it (aria: L'ho perduta, me meschina – "I lost it, poor me"). Figaro and Marcellina see Barbarina, and Figaro asks her what she is doing. When he hears the pin is Susanna's, he is overcome with jealousy, especially as he recognises the pin to be the one that fastened the letter to the Count. Thinking that Susanna is meeting the Count behind his back, Figaro complains to his mother, and swears to be avenged on the Count and Susanna, and on all unfaithful wives. Marcellina urges caution, but Figaro will not listen. Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. Marcellina sings of how the wild beasts get along with each other, but rational humans can't. (aria: Il capro e la capretta – "The billy-goat and the she-goat"). (This aria and Basilio's ensuing aria are usually omitted from performances due to their relative unimportance, both musically and dramatically; however some recordings include them.)
Actuated by jealousy, Figaro tells Bartolo and Basilio to come to his aid when he gives the signal. Basilio comments on Figaro's foolishness and claims he was once as frivoulous as Figaro was. He tells a tale of how he was given common sense by "Donna Flemma" and ever since he has been aware of the wiles of women (aria: In quegli anni – "In youthful years"). They exit, leaving Figaro alone. Figaro muses on the inconstancy of women (aria: Aprite un po' quegli occhi – "Open your eyes"). Susanna and the Countess arrive, dressed in each other's clothes. Marcellina is with them, having informed Susanna of Figaro's suspicions and plans. After they discuss the plan, Marcellina and the Countess leave, and Susanna teases Figaro by singing a love song to her beloved within Figaro's hearing (aria: Deh, vieni, non tardar – "Oh come, don't delay"). Figaro is hiding behind a bush and, thinking the song is for the Count, becomes increasingly jealous.
The Countess arrives in Susanna's dress. Cherubino shows up and starts teasing "Susanna" (really the Countess), endangering the plan. Fortunately, the Count gets rid of him by striking out in the dark. His punch actually ends up hitting Figaro, but the point is made and Cherubino runs off.
The Count now begins making earnest love to "Susanna" (really the Countess), and gives her a jewelled ring. They go offstage together, where the Countess dodges him, hiding in the dark. Onstage, meanwhile, the real Susanna enters, wearing the Countess' clothes. Figaro mistakes her for the Countess, and starts to tell her of the Count's intentions, but he suddenly recognizes his bride in disguise. He plays along with the joke by pretending to be in love with "my lady", and inviting her to make love right then and there. Susanna, fooled, loses her temper and slaps him many times. Figaro finally lets on that he has recognized Susanna's voice, and they make peace, resolving to conclude the comedy together.
The Count, unable to find "Susanna", enters frustrated. Figaro gets his attention by loudly declaring his love for "the Countess" (really Susanna). The enraged Count calls for his people and for weapons: his servant is seducing his wife. Bartolo, Basilio and Antonio enter with torches as, one by one, the Count drags out Cherubino, Barbarina, Marcellina and the "Countess" from behind the pavilion.
All beg him to forgive Figaro and the "Countess", but he loudly refuses, repeating "no" at the top of his voice, until finally the real Countess re-enters and reveals her true identity. The Count, seeing the ring he had given her, realizes that the supposed Susanna he was trying to seduce, was actually his wife. Ashamed and remorseful, he kneels and pleads for forgiveness himself (Contessa, perdono – "Countess, forgive me"). The Countess, more kind than he (Piú docile io sono – "I am more kind"), forgives her husband and all are contented. They celebrate as the opera ends, vowing to party all night.
10pm NOCTURNE with Christopher Stone
MOZART Symphony No 31 in D major K297 Paris [19.49]
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Presented by Yvonne Schwerdt
STRAUSS, J II 'Die Fledermaus' [111.37]
Act 1
Eisenstein's apartment
Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein's maid, receives a forged letter, allegedly from her sister who is in the company of the ballet, but actually written by Falke, inviting her to Prince Orlofsky's ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein's wife) for an evening off ("Da schreibt meine Schwester Ida"/"My sister Ida writes to me"). Falke, Eisenstein's friend, arrives to invite him to the ball (Duet: "Komm mit mir zum Souper"/"Come with me to the souper"). Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison (Trio: "O Gott, wie rührt mich dies!"/"Oh dear, oh dear, how sorry I am") but really intending to postpone jail for one day and have fun at the ball.
After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her ("Täubchen, das entflattert ist"/"Dove that has escaped"). Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. (Finale, drinking song: "Glücklich ist, wer vergisst"/"Happy is he who forgets" followed by Rosalinde's defence when Frank arrives: "Mit mir so spät im tête-à-tête"/"In tête-à-tête with me so late," and Frank's invitation: "Mein schönes, großes Vogelhaus"/"My beautiful, large bird-cage.")
Act 2
A summer house in the Villa Orlofsky
It transpires that Falke, with Prince Orlofsky's permission, is using the ball as a way of getting revenge on Eisenstein. Some time before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name "Marquis Renard," Frank is "Chevalier Chagrin," and Adele, who has borrowed one of Rosalinde's dresses without permission, pretends she is an actress.
The ball is in progress (Chorus: "Ein Souper heut' uns winkt"/"A souper is before us") and the Prince welcomes his guests ("Ich lade gern mir Gäste ein"/"I love to invite my friends"). Eisenstein is introduced to Adele, but is confused as to who she really is because of her striking resemblance to his maid. ("Mein Herr Marquis"/"My lord marquis," sometimes referred to as "Adele's Laughing Song"). Frank arrives. He and Eisenstein, who are both posing as Frenchmen, attempt to conceal their identities by repeating common French phrases to each other, to Orlofsky's great amusement. Since neither actually knows French, both are fooled. As the party progresses, they both experience alcohol-induced good-feeling and manly camaraderie for each other.
Then Falke introduces the masked Rosalinde to the company. She convinces everyone that she is Hungarian by singing the "Czardas", a sentimental dancing-song ("Klänge der Heimat"/"Sounds from home"). During an amorous tête-à-tête, Eisenstein tries unsuccessfully to persuade the mystery-woman to unmask. She succeeds in extracting a valuable watch from her husband's pocket, something which she can use in the future as evidence of his impropriety. (Watch duet: "Dieser Anstand, so manierlich"/"Her bearing, so well-mannered"). In a rousing finale, Orlofsky makes a toast to champagne, and the company celebrates (The Champagne song: "Im Feuerstrom der Reben"/"In the fire stream of the grape"; followed by the canon: "Brüderlein, Brüderlein und Schwesterlein"/"Brothers, brothers and sisters" and the waltz finale, "Ha, welch ein Fest, welche Nacht voll Freud'!"/"Ha, what joy, what a night of delight.") Eisenstein and Frank dash off as the clock strikes six in the morning.
(Note: The "Champagne song", which is sung by the entire ensemble, should not be confused with the baritone aria "Fin ch' han dal vino" from Don Giovanni, which is often called the "Champagne aria".)
Act 3
In the prison offices of Warden Frank
The next morning they all find themselves at the prison where the confusion increases and is compounded by the jailer, Frosch, who has profited by Warden Frank's absence to become gloriously drunk. Alfred, still in jail in Eisenstein's place, irritates the other prisoners by singing operatic arias.
Adele arrives to ask the Chevalier Chagrin (actually Frank) to sponsor her career as an actress, but Frank is not wealthy enough to do this (Melodrama; Couplet of Adele: "Spiel' ich die Unschuld vom Lande"/"If I play the innocent peasant maid"). Meanwhile, Alfred asks Frosch to summon Dr. Blind to help get him released; Frank agrees to allow this and Dr. Blind arrives. Eisenstein enters and says he has come to serve his sentence. He is surprised when Frank tells him that his cell is already occupied by a man who claims to be Eisenstein and whom Frank had arrested in Eisenstein's apartment. Frank further tells Eisenstein that the man he arrested was singing amorous songs to Rosalinde at the time of his arrest, and warmly kissed her goodbye. Enraged, Eisenstein takes Dr. Blind's wig and glasses in order to disguise himself and confront the impersonator Alfred, who Eisenstein now believes has cuckolded him. Rosalinde enters. Eisenstein takes off his disguise and accuses her of being unfaithful to him with Alfred. Eisenstein, Rosalinde, and Alfred sing a trio in which Eisenstein angrily claims the right of vengeance (Trio: "Ja, ich bin's, den ihr betrogen...Ra-ra-ra-ra-Rache will ich!"/"I'm the one who was mistreated....Ve-ve-ve-ve-vengeance is mine!"). However, Rosalinde produces his watch, and he realizes that the Hungarian mystery-woman he tried to seduce at Orlofsky's party was actually Rosalinde in disguise and that he, not she, is at fault.
Falke enters with all the guests from the party and explains that the whole thing was payback for Eisenstein's practical joke on him three years before. Eisenstein is delighted by the prank, and he begs Rosalinde to forgive him for his attempted infidelity. Rosalinde refuses at first, and threatens to divorce him, but Eisenstein tells her that his misbehavior was caused by the champagne. She accepts this explanation and immediately forgives him unconditionally. Orlofsky promises to finance Adele's acting career, and the company joyfully reprises the "Champagne song" from act 2.
https://en.wikipedia.org/wiki/Die_Fledermau
10pm NOCTURNE presented by Yvonne Schwerdt
OFFENBACH
Les Boules de Neiges Landler [4.50]
Le Postillon Galop [3.47]
Madeleine Polka-Mazurka [3.47]
HANDEL Alcina Overture and Ballet Music [23.58]
MOZART Violin Sonata No 18 in G major K301 [15.59]
RAMEAU Pygmalion Suite [19.49]
SCHUBERT String Quartet in A minor D804 Rosamunde [37.53]
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Presented by Christopher Stone
PUCCINI Turandot [114.20]
In front of the imperial palace
ACT 1
In China, beautiful Princess Turandot will marry only a suitor who can answer three secret riddles. A Mandarin announces the law of the land (Aria – "Popolo di Pechino!" – "People of Peking!"). The Prince of Persia has failed to answer the three riddles, and he is to be beheaded at the next rising moon. As the crowd surges towards the gates of the palace, the imperial guards brutally repulse them, causing a blind old man to be knocked to the ground. The old man's slave-girl, Liù, cries out for help. A young man hears her cry and recognizes that the old man is his long-lost father, Timur, the deposed king of Tartary. The young Prince of Tartary is overjoyed at seeing Timur alive, but still urges Timur to not speak his name because he is afraid that the Chinese rulers, who have conquered Tartary, may kill or harm them. Timur then tells his son that, of all his servants, only Liù has remained faithful to him. When the Prince asks her why, she tells him that once, long ago in the palace, the Prince had smiled at her (Trio with chorus – The crowd, Liù, Prince of Tartary, Timur: "Indietro, cani!" – "Back, dogs!").
The moon rises, and the crowd's cries for blood dissolve into silence. The doomed Prince of Persia, who is on his way to be executed, is led before the crowd. The young Prince is so handsome and kind that the crowd and the Prince of Tartary decide that they want Turandot to act compassionately, and they beg Turandot to appear and spare his life (Aria – The crowd, Prince of Tartary: "O giovinetto!" – "O youth!"). She then appears, and with a single imperious gesture, orders the execution to continue. The Prince of Tartary, who has never seen Turandot before, falls immediately in love with her, and joyfully cries out Turandot's name three times, foreshadowing the riddles to come. Then the Prince of Persia cries out Turandot's name one final time, mirroring the Prince of Tartary. The crowd, horrified, screams out one final time and the Prince of Persia is beheaded.
The Prince of Tartary is dazzled by Turandot's beauty. He is about to rush towards the gong and to strike it three times – the symbolic gesture of whoever wishes to attempt to solve the riddles so that he can marry Turandot – when the ministers Ping, Pang, and Pong appear. They urge him cynically to not lose his head for Turandot and to instead go back to his own country ("Fermo, che fai?" "Stop, what are you doing?"). Timur urges his son to desist, and Liù, who is secretly in love with the Prince, pleads with him not to attempt to solve the riddles ("Signore, ascolta!" – "Lord, hear!"). Liù's words touch the Prince's heart. He begs Liù to make Timur's exile more bearable by not abandoning Timur if the Prince fails to answer the riddles ("Non piangere, Liù" – "Do not cry, Liù"). The three ministers, Timur, and Liù then try one last time to stop the Prince ("Ah! Per l'ultima volta!" – "Ah! For the last time!") from attempting to answer the riddles, but he refuses to heed their advice.
He calls Turandot's name three times, and each time Liù, Timur, and the ministers reply, "Death!" and the crowd declares, "We're already digging your grave!" Rushing to the gong that hangs in front of the palace, the Prince strikes it three times, declaring himself to be a suitor. From the palace balcony, Turandot accepts his challenge, as Ping, Pang, and Pong laugh at the Prince's foolishness.
ACT 2
Ping, Pang, and Pong lament their place as ministers, poring over palace documents and presiding over endless rituals. They prepare themselves for either a wedding or a funeral (Trio – Ping, Pang, Pong: "Ola, Pang!"). Ping suddenly longs for his country house in Honan, with its small lake surrounded by bamboo. Pong remembers his grove of forests near Tsiang, and Pang recalls his gardens near Kiu. The three share their fond memories of their lives away from the palace (Trio – Ping, Pang, Pong: "Ho una casa nell'Honan" – "I have a house in Honan"). They turn their thoughts back to how they have been accompanying young princes to their deaths. As the palace trumpet sounds, the ministers ready themselves for another spectacle as they await the entrance of their Emperor.
Scene 2: The courtyard of the palace. Sunrise
The Emperor Altoum, father of Turandot, sits on his grand throne in his palace. Weary of having to judge his isolated daughter's sport, he urges the Prince to withdraw his challenge, but the Prince refuses (Aria – Altoum, the Prince: "Un giuramento atroce" – "An atrocious oath"). Turandot enters and explains ("In questa reggia" – "In this palace") that her ancestress of millennia past, Princess Lo-u-Ling, reigned over her kingdom "in silence and joy, resisting the harsh domination of men" until she was raped and murdered by an invading foreign prince. Turandot claims that Lo-u-Ling now lives in her, and out of revenge, Turandot has sworn to never let any man wed her. She warns the Prince to withdraw but again he refuses. The Princess presents her first riddle: "Straniero, ascolta!" – "What is born each night and dies each dawn?" The Prince correctly replies, Speranza – "Hope." The Princess, unnerved, presents her second riddle ("Guizza al pari di fiamma" – "What flickers red and warm like a flame, but is not fire?") The Prince thinks for a moment before replying, Sangue – "Blood". Turandot is shaken. The crowd shouts at the Prince, provoking Turandot's anger. She presents her third riddle ("Gelo che ti da foco" – "What is ice which gives you fire and which your fire freezes still more?"). He proclaims, "It is Turandot! Turandot!"
The crowd roars for the triumphant Prince. Turandot throws herself at her father's feet and pleads with him not to leave her to the Prince's mercy. The Emperor insists that an oath is sacred and that it is Turandot's duty to wed the Prince (Duet – Turandot, Altoum, the Prince: "Figlio del cielo"). She cries out in despair, "Will you take me by force? (Mi porterai con la forza?) The Prince stops her, saying that he has a riddle for her: "You do not know my name. Tell me my name before sunrise, and at dawn, I will die." Turandot accepts. The Emperor then declares that he hopes that he will be able to call the Prince his son when the sun next rise.
ACT 3
Scene 1: The palace gardens. Night
In the distance, heralds call out Turandot's command: "Cosi comanda Turandot" – "This night, none shall sleep in Peking! The penalty for all will be death if the Prince's name is not discovered by morning". The Prince waits for dawn and anticipates his victory: "Nessun dorma" – "Let no one sleep!"
Ping, Pong, and Pang appear and offer the Prince women and riches if he will only give up Turandot ("Tu che guardi le stelle"), but he refuses. A group of soldiers then drag in Timur and Liù. They have been seen speaking to the Prince, so they must know his name. Turandot enters and orders Timur and Liù to speak. The Prince feigns ignorance, saying they know nothing. But when the guards begin to treat Timur harshly, Liù declares that she alone knows the Prince's name, but she will not reveal it.
Ping demands the Prince's name, and when Liù refuses to say it, she is tortured. Turandot is clearly taken aback by Liù's resolve and asks Liù who or what gave her such a strong resolve. Liù answers, "Princess, love!" ("Principessa, amore!"). Turandot demands that Ping tear the Prince's name from Liù, and Ping orders Liù to be tortured even more. Liù counters Turandot ("Tu che di gel sei cinta" – "You who are encircled by ice"), saying that Turandot too will learn the exquisite joy of being guided by caring and compassionate love.[note 2] Having spoken, Liù seizes a dagger from a soldier's belt and stabs herself. As she staggers towards the Prince and falls dead, the crowd screams for her to speak the Prince's name. Since Timur is blind, he must be told about Liù's death, and he cries out in anguish.
When Timur warns that the gods will be offended by Liù's death, the crowd becomes subdued, very afraid and ashamed. The grieving Timur and the crowd follow Liù's body as it is carried away. Everybody departs, leaving the Prince and Turandot alone. He reproaches Turandot for her cruelty (Duet – The Prince, Turandot: "Principessa di morte" – "Princess of death"), then takes her in his arms and kisses her in spite of her resistance.[note 3]
The Prince tries to persuade Turandot to love him. At first, she feels disgusted, but after he kisses her, she feels herself becoming more ardently desiring to be held and compassionately loved by him. She admits that ever since she met the Prince, she realized she both hated and loved him. She asks him to ask for nothing more and to leave, taking his mystery with him. The Prince, however, then reveals his name: "Calaf, son of Timur – Calaf, figlio di Timur", thereby placing his life in Turandot's hands. She can now destroy him if she wants (Duet – Turandot, Calaf: "Del primo pianto").
Scene 2: The courtyard of the palace. Dawn
Turandot and Calaf approach the Emperor's throne. She declares that she knows the Prince's name: ("Diecimila anni al nostro Imperatore!") – "It is ... love!" The crowd sings and acclaims the two lovers ("O sole! Vita! Eternità")
Wikipedia https://en.wikipedia.org/wiki/Turandot
AT 10pm NOCTURNE presented by Christopher Stone
SIBELIUS En saga Op 9 [16.27]
BACH arr Stokowski Orchestral Suite No 3 BWV1068 Air [5.51]
BACH Partita No 1 in B major BWV825 [11.30]
BEETHOVEN String Quartet No 8 in E minor Op 59 No 2 [32.24]
PUCCINI Messa di Gloria [44.48]
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Presented by Glen Quick
Prologue (Act 1 in the 1857 original)
A piazza in front of the Fieschi palace[11][26]
Paolo Albiani, a plebeian, tells his ally Pietro that in the forthcoming election of the Doge, his choice for the plebeian candidate is Simon Boccanegra. Boccanegra arrives and is persuaded to stand when Paolo hints that if Boccanegra becomes Doge, the aristocratic Jacopo Fiesco will surely allow him to wed his daughter Maria. When Boccanegra has gone, Paolo gossips about Boccanegra's love affair with Maria Fiesco – Boccanegra and Maria have had a child, and the furious Fiesco has locked his daughter away in his palace. Pietro rallies a crowd of citizens to support Boccanegra. After the crowd has dispersed, Fiesco comes out of his palace, stricken with grief; Maria has just died (Il lacerato spirito – "The tortured soul of a sad father"). He swears vengeance on Boccanegra for destroying his family. When he meets Boccanegra he does not inform him of Maria's death. Boccanegra offers reconciliation and Fiesco promises clemency only if Boccanegra lets him have his granddaughter. Boccanegra explains he cannot because the child, put in the care of a nurse, has vanished. He enters the palace and finds the body of his beloved just before crowds pour in, hailing him as the new Doge.
Act 1 (Act 2 in the 1857 original)
[Twenty-five years have passed. Historically the action has moved from 1339, the year of Simon's election in the prologue, forward to 1363, the year of the historical Simone Boccanegra's death – for acts 1, 2 and 3.] [The Doge has exiled many of his political opponents and confiscated their property. Among them is Jacopo Fiesco, who has been living in the Grimaldi palace, using the name Andrea Grimaldi to avoid discovery and plotting with Boccanegra's enemies to overthrow the Doge. The Grimaldis have adopted an orphaned child of unknown parentage after discovering her in a convent (she is in fact Boccanegra's child, Maria – known as Amelia – named after her mother, and she is Fiesco's granddaughter). They called her Amelia, hoping that she would be the heir to their family's fortune, their sons having been exiled and their own baby daughter having died. Amelia is now a young woman.]
Scene 1: A garden in the Grimaldi palace, before sunrise
Amelia is awaiting her lover, Gabriele Adorno (Aria:Come in quest'ora bruna – "How in the morning light / The sea and stars shine brightly"). She suspects him of plotting against the Doge and when he arrives she warns him of the dangers of political conspiracy. Word arrives that the Doge is coming. Amelia, fearing that the Doge will force her to marry Paolo, now his councilor, urges Adorno to ask her guardian Andrea (in reality, Fiesco) for permission for them to marry: Sì, sì dell'ara il giubilo / contrasti il fato avverso – "Yes, let the joy of marriage be set against unkind fate".
[1857 original version: the duet ended with a cabaletta (set to the same words as the 1881 text)[27] then "a coda and a battery of chords followed by applause."][28]
Fiesco reveals to Adorno that Amelia is not a Grimaldi, but a foundling adopted by the family. When Adorno says that he does not care, Fiesco blesses the marriage. Boccanegra enters and tells Amelia that he has pardoned her exiled brothers. She tells him that she is in love, but not with Paolo, whom she refuses to marry. Boccanegra has no desire to force Amelia into a marriage against her will. She tells him that she was adopted and that she has one souvenir of her mother, a picture in a locket. The two compare Amelia's picture with Boccanegra's, and Boccanegra realizes that she is his long-lost daughter. Finally reunited, they are overcome with joy. Amelia goes into the palace. Soon after, Paolo arrives to find out if Amelia has accepted him. Boccanegra tells him that the marriage will not take place. Furious, Paolo arranges for Amelia to be kidnapped.
Scene 2: The council chamber
[1881 revision: This entire scene was added by Verdi and Boito in place of the 1857 scene, which took place in a large square in Genoa.] [29][30]
The Doge encourages his councillors to make peace with Venice. He is interrupted by the sounds of a mob calling for blood. Paolo suspects that his kidnapping plot has failed. The Doge prevents anyone leaving the council chamber and orders the doors to be thrown open. A crowd bursts in, chasing Adorno. Adorno confesses to killing Lorenzino, a plebeian, who had kidnapped Amelia, claiming to have done so at the order of a high-ranking official. Adorno incorrectly guesses the official was Boccanegra and is about to attack him when Amelia rushes in and stops him (Aria: Nell'ora soave – "At that sweet hour which invites ecstasy / I was walking alone by the sea"). She describes her abduction and escape. Before she is able to identify her kidnapper, fighting breaks out once more. Boccanegra establishes order and has Adorno arrested for the night (Aria: Plebe! Patrizi! Popolo! – "Plebeians! Patricians! Inheritors / Of a fierce history"). He orders the crowd to make peace and they praise his mercy. Realizing that Paolo is responsible for the kidnapping, Boccanegra places him in charge of finding the culprit. He then makes everyone, including Paolo, utter a curse on the kidnapper.
Act 2 ( Act 3 in the 1857 original)
The Doge's apartments
[1881 revised version: There are some small adjustments in this act which include expanding Paolo's opening aria, thus giving him greater stature in the work: Me stesso ho maledetto! / "I have cursed myself", the wording of which was originally: O doge ingrato ... ch'io rinunci Amelia e i suoi tesori? / "O ungrateful Doge! ... Must I give up Amelia and her charms".] [31]
Paolo has imprisoned Fiesco. Determined to kill Boccanegra, Paolo pours a slow-acting poison into the Doge's water, and then tries to convince Fiesco to murder Boccanegra in return for his freedom. Fiesco refuses. Paolo next suggests to Adorno that Amelia is the Doge's mistress, hoping Adorno will murder Boccanegra in a jealous rage. Adorno is furious (Aria: Sento avvampar nell'anima – "I feel a furious jealousy / Setting my soul on fire"). Amelia enters the Doge's apartments, seeming to confirm Adorno's suspicions, and he angrily accuses her of infidelity. She claims only to love him, but cannot reveal her secret – that Boccanegra is her father – because Adorno's family were killed by the Doge. Adorno hides as Boccanegra is heard approaching. Amelia confesses to Boccanegra that she is in love with his enemy Adorno. Boccanegra is angry, but tells his daughter that if the young nobleman changes his ways, he may pardon him. He asks Amelia to leave, and then takes a drink of the poisoned water, which Paolo has placed on the table. He falls asleep. Adorno emerges and is about to kill Boccanegra, when Amelia returns in time to stop him. Boccanegra wakes and reveals to Adorno that Amelia is his daughter. Adorno begs for Amelia's forgiveness (Trio: Perdon, Amelia ... Indomito – "Forgive me, Amelia ... A wild, / Jealous love was mine"). Noises of fighting are heard – Paolo has stirred up a revolution against the Doge. Adorno promises to fight for Boccanegra, who vows that Adorno shall marry Amelia if he can crush the rebels.
Act 3(Act 4 in the 1857 original)[1857 original version: Act 4 opened with a double male voice chorus, and a confused dialogue involving references to details in the original play.][32]
Inside the Doge's palace
The uprising against the Doge has been put down. Paolo has been condemned to death for fighting with the rebels against the Doge. Fiesco is released from prison by the Doge's men. On his way to the scaffold, Paolo boasts to Fiesco that he has poisoned Boccanegra. Fiesco is deeply shocked. He confronts Boccanegra, who is now dying from Paolo's poison. Boccanegra recognizes his old enemy and tells Fiesco that Amelia is his granddaughter. Fiesco feels great remorse and tells Boccanegra about the poison. Adorno and Amelia, newly married, arrive to find the two men reconciled. Boccanegra tells Amelia that Fiesco is her grandfather and, before he dies, names Adorno his successor. The crowd mourns the death of the Doge.
Wikipedia https://en.wikipedia.org/wiki/Simon_Boccanegra
Nocturne presented by Glen Quick
WOLF-FERRARI Serenade for Strings in E flat major [22.47]
PROKOFIEV Romeo & Juliet Suite No 2 Op 64b [31.44]
SOLER Sonatas Nos 84 85 89 90 21 87 and 88 [32.51]
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Presented by Christopher Stone
WEBER Der Freischütz [122.43]
SCHUBERT Adagio in E Flat D897 Notturno [12.57]
Synopsis:
Place Bohemia, Time Shortly after the Thirty Years War
Act 1
At a shooting contest, the second assistant forester, Max, loses to a peasant, Kilian, who is proclaimed "King of marksmen" (Chorus: Viktoria! Der Meister soll leben—"Victory! Long live the master"). Kilian mocks him good-naturedly (Schau der Herr mich an als König—"Let him gaze on me as king").
Max wants to marry Agathe, daughter of the head forester Kuno. In order to marry her and succeed her father as head forester, he has to prove his marksmanship and score in a shooting trial before Ottokar, the sovereign prince, on the following day.
As Max has had ill luck for several days, he muses upon his prospects of losing Agathe by failing the shooting test (Trio of Kuno, Kaspar, and Max; chorus: O diese Sonne—"O this sun"). Left alone in deep melancholy, he recalls happy days (Aria: Durch die Wälder, durch die Auen—"Through the forests, through the meadows").
Kaspar, the first assistant forester, falsely tries to imbue Max with wine and courage (Hier im ird'schen Jammerthal—"Here in this vale of tears"). He had hoped to marry Agathe himself but she had rejected him and chosen Max. The marriage would make Max the heir of Kuno who would see Max as a son. Kaspar seeks revenge upon all three – his rival, his former sweetheart and her father.[c] He hands Max his gun and Max, to his own astonishment, hits an eagle soaring at a great height. Kaspar explains that the gun had been loaded with his last magic bullet.
He persuades Max to meet him at midnight in the terrible Wolf's Glen to cast seven more of the magic bullets. (Six hit, but the seventh belongs to the Evil One who can guide it wherever he pleases.) He warns Max not to tell a soul about their purpose so as not to endanger them. Left alone, Kaspar triumphs and boasts of his insidiousness (Aria: Schweig’! damit dich niemand warnt—"Silence! So that nobody warns you.").
Act 2
Agathe's chamber
At the moment when Max shoots the magic bullet, a picture of Agathe's ancestor hanging on the wall falls to the floor, slightly wounding her. Agathe's cousin and companion Ännchen refastens the hook (Duet: Schelm, halt fest!—"Rogue, hold fast!"). She endeavours to cheer Agathe with jests (Ännchen: Kommt ein schlanker Bursch gegangen—"Comes a pretty boy this path"). Agathe, still disturbed, tells of her meeting with the hermit. He had indicated a danger from which his white consecrated roses would protect her.
Left alone, Agathe awaits Max with the news of his success (Recitative and aria: Wie nahte mir der Schlummer...Leise, leise—"How did slumber approach me...Low, low"). Max arrives, acknowledging that while he has not been the victor, he has killed an eagle. Though the night is falling, he has to leave again to bring in a stag which he had shot in the Wolf's Glen (Trio: Wie? Was? Entsetzen!—"What? What? Oh, horror!").
The Wolf's Glen at night
As the bell chimes twelve Kaspar calls upon Samiel, the Black Huntsman, for assistance in casting the magic bullets. Having already sold his own soul, which is due the next day, Kaspar offers Max’s soul in exchange for a prolongation of his soul of three years. Agathe is to be killed by Max's magic bullet, despair will then make him the Devil's, him – and the father. Samiel agrees ambiguously: "So be it – By the gates of hell! Tomorrow he or you!"
As Max arrives, the spirit of his mother warns him to abandon the project. But Samiel conjures up Agathe, seemingly drowning herself in despair, whereupon Max plunges into the glen. With demoniacal noise, the casting of the bullets begins.
Act 3
The meeting of the marksmen[d]
Having split the seven bullets between them, Max has used three during the hunt in the morning. Kaspar spoils his three on a fox. Thus Max's remaining bullet is the seventh, the Devil's bullet.
Agathe's chamber
Agathe is praying (Aria: Und ob die Wolke sie verhülle—"Through clouds obscure"), her doubts having returned owing to a dream of ill omen where she was a white dove which Max shot. Ännchen tries to cheer her with a spooky tale (Aria: Einst träumte meiner sel'gen Base—"My deceased cousin had a dream"). The bridesmaids bring the box with the bridal wreath (Song: Wir winden dir den Jungfern-Kranz—"We wind round thee the bridal wreath"). But as they open it they find a funeral wreath. Recalling the hermit's promise that the white roses will protect her, Agathe proposes to twine them to the bridal wreath.
The marksmanship trial
Prince Ottokar awaits Max at his tent (Chorus of foresters: Was gleicht wohl auf Erden—"What excels the pleasures of the chase"). As a test, Max is ordered to shoot the dove pointed out to him. Max takes aim, fires and Agathe, who has just entered the scene, falls as if hit (Finale: Schaut, o schaut—"See, oh see"). But her bridal wreath and the hermit behind her have deflected the bullet. It strikes Kaspar. Agathe revives from her faint and Kaspar, seeing a holy hermit by her side, realizes that he has failed. Samiel grasps him instead of Max, whereupon Kaspar expires, cursing hell and heaven.
Prince Ottokar orders the corpse to be thrown into the Wolf's Glen. Then he demands and receives an explanation from Max who confesses to shooting with magic bullets. Regardless of pleas from Kuno, Agathe, peasants, and huntsmen, the infuriated Prince forbids the marriage and banishes Max from the country.
The hermit seeks to appease the Prince (Aria: Wer legt auf ihn so strengen Bann! Ein Fehltritt, ist er solcher Büssung wert?—"Who lays so strict a sentence upon him? An error, is it worthy of such atonement?"). Only love of Agathe and fear of losing her had caused Max to stray from a life that was formerly without fault. Who is to raise the first stone? Who does not look into his own heart? Once he has completed a faultless probationary year, Max should be allowed to marry Agathe. To the exuberant joy of all the Prince accepts this judgement. After the probation, he himself will place the hand of Agathe in that of Max.
In the end, all join in a prayer of thanks.
https://en.wikipedia.org/wiki/Der_Freisch
10pm NOCTURNE with Christopher Stone
MOZART Symphony No 29 in A major K201 [25.16]
SCHUBERT Fantasia in C major D760 Wanderer [20.45]
BEETHOVEN String Quartet No 7 in F major Op 59 No 1 Razumovsky [38.58]
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Presented by Glen Quick
PUCCINI Tosca [113.53]
Act 1
Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. After Cavaradossi reassures her, Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden. The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
When Tosca arrives looking for her lover, Scarpia artfully arouses her jealous instincts by implying a relationship between the painter and the Marchesa Attavanti. He draws Tosca's attention to the fan and suggests that someone must have surprised the lovers in the chapel. Tosca falls for his deceit; enraged, she rushes off to confront Cavaradossi. Scarpia orders Spoletta and his agents to follow her, assuming she will lead them to Cavaradossi and Angelotti. He privately gloats as he reveals his intentions to possess Tosca and execute Cavaradossi. A procession enters the church singing the Te Deum; exclaiming 'Tosca, you make me forget even God!', Scarpia joins the chorus in the prayer.
Act 2
Scarpia's apartment in the Palazzo Farnese, that evening
Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning. He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace.
She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything. Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa.
Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He is devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an upset on the battlefield at Marengo, and the French are marching on Rome. Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be executed.
Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: "Vissi d'arte" ("I lived for art"). She tries to offer money, but Scarpia is not interested in that kind of bribe: he wants Tosca herself.
Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia hesitates to give the order, looking to Tosca, and despairingly she agrees to submit to him. He tells Spoletta to arrange a mock execution, both men repeating that it will be "as we did with Count Palmieri", and Spoletta exits.
Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he's drafting the document, she quietly takes a knife from the supper table. Scarpia triumphantly strides toward Tosca. When he begins to embrace her, she stabs him, crying "this is Tosca's kiss!" Once she's certain he's dead, she ruefully says "now I forgive him." She removes the safe-conduct from his pocket, lights candles in a gesture of piety, and places a crucifix on the body before leaving.
Act 3
The upper parts of the Castel Sant'Angelo, early the following morningA shepherd boy is heard offstage singing (in Romanesco dialect) "Io de' sospiri" ("I give you sighs") as church bells sound for matins. The guards lead Cavaradossi in and a jailer informs him that he has one hour to live. He declines to see a priest, but asks permission to write a letter to Tosca. He begins to write, but is soon overwhelmed by memories: "E lucevan le stelle" ("And the stars shone").
Tosca enters and shows him the safe-conduct pass she has obtained, adding that she has killed Scarpia and that the imminent execution is a sham. Cavaradossi must feign death, after which they can flee together before Scarpia's body is discovered. Cavaradossi is awestruck by his gentle lover's courage: "O dolci mani" ("Oh sweet hands"). The pair ecstatically imagine the life they will share, far from Rome. Tosca then anxiously coaches Cavaradossi on how to play dead when the firing squad shoots at him with blanks. He promises he will fall "like Tosca in the theatre".
Cavaradossi is led away, and Tosca watches with increasing impatience as the firing squad prepares. The men fire, and Tosca praises the realism of his fall, "Ecco un artista!" ("What an actor!"). Once the soldiers have left, she hurries towards Cavaradossi, urging him, "Mario, su presto!" ("Mario, up quickly!"), only to find that Scarpia betrayed her: the bullets were real. Heartbroken, she clasps her lover's lifeless body and weeps.
The voices of Spoletta, Sciarrone, and the soldiers are heard, shouting that Scarpia is dead and Tosca has killed him. As the men rush in, Tosca rises, evades their clutches, and runs to the parapet. Crying "O Scarpia, avanti a Dio!" ("O Scarpia, we meet before God!"), she flings herself over the edge to her death.
https://en.wikipedia.org/wiki/Tosca
At 10pm; NOCTURNE with Glen Quick
BACH Keyboard Concerto No 1 in D minor BWV1052 [22.46]
PROKOFIEV Sonata No 2 for Violin and Piano Op 94a [23.52]
HAYDN Symphony No 54 in G major Hob.I:54 [27.29]
BEETHOVEN Piano Sonata No 17 in D minor Op 31 No 2 [24.40]
DONIZETTI Oboe Concerto in G major [10.45]
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Presented by Yvonne Schwerdt
Billy Budd, Op. 50, is an opera by Benjamin Britten to a libretto by the English novelist E. M. Forster and Eric Crozier, based on the short novel Billy Budd by Herman Melville.
Originally in four acts, the opera received its premiere at the Royal Opera House (ROH), London, on 1 December 1951. Britten later revised the work into a two-act opera, with a prologue and an epilogue. The revised version received its first performance at the Royal Opera House, Covent Garden, London, on 9 January 1964.
Prologue
Captain Edward Fairfax Vere, an old man, reflects on his life and his time in the navy. He reflects on the conflict between good and evil, tormented by guilt over the case of Billy Budd on board his ship, HMS Indomitable, some years earlier.
Act 1
The crew of the Indomitable works on deck. For slipping and bumping into an officer, the Novice is sentenced to be flogged. At the same time a cutter approaches, returning from a merchant ship where it has pressed three sailors into the Royal Navy.
One of these sailors, Billy Budd, seems overjoyed with his situation – entirely different from the other two, Joseph Higgins and Arthur Jones, who are not so happy. Claggart, the Master-at-Arms, calls him "a find in a thousand", despite having a stammer. Billy says a jaunty farewell to the Rights o' Man, his former ship, innocent of what his words imply. The officers, forgetting mention of the name of his prior ship, take his words as a deliberate provocation and order the men below decks. Claggart tells Squeak, the ship's corporal, to keep an eye on Billy and give him a rough time.
The Novice is brought back from his flogging, unable to walk and helped along by a friend. The cruelty of the punishment shocks Billy, but he feels certain that if he follows the rules he will be in no danger. Dansker, an old sailor, nicknames Billy "Baby Budd" for his naïveté.
At this point in the four-act version, the climax of Act I features Captain Vere on deck to give a speech to the men. In the two-act version, after Billy has asked about the ship's captain, Dansker mentions Captain Vere's nickname, "Starry Vere," and this is enough for the impulsive Billy to swear his loyalty to the unseen captain.
In his cabin, Captain Vere muses over classical literature. His officers Mr Redburn and Mr Flint enter, and they discuss the Revolution in France and the Spithead and Nore mutinies sparked by French ideas of democracy. The officers warn that Billy may cause trouble, but Vere dismisses their fears and expresses his love for the men under his command.
Below decks, the sailors rough-house, but Dansker remains aloof. Billy goes for some tobacco to cheer him up, and discovers Squeak rifling through his kit. In a rage, Billy begins to stammer. Squeak draws a knife, and fights with Billy, who knocks Squeak to the ground as Claggart and the corporals enter. Billy is still unable to speak, but Dansker relates the events of the fight at Claggart's request. Claggart sends Squeak to the brig, to keep him silent. When alone, Claggart reveals his hatred for Billy and vows to destroy him. He orders the Novice to try to bribe Billy into joining a mutiny, and the broken-spirited Novice quickly agrees. Billy refuses the bribe and believes he will be rewarded, but Dansker warns him to beware of Claggart.
Act 2
Claggart asks to see Vere, and after being granted access, begins to tell Vere about danger of mutiny led by one of the crew. However, the sighting of a French ship interrupts Claggart's narrative. The Indomitable goes in pursuit, and fires a warning shot, but loses the enemy in the mist. Claggart returns, and tells Vere that Billy poses a threat of mutiny. Vere does not believe him and sends for Billy so that Claggart may confront him.
Later, in Vere's cabin, Claggart repeats the false charge to Billy's face. Once again, Billy begins to stammer in rage. Unable to speak, he strikes Claggart, killing him. Captain Vere convenes a drumhead court for an immediate court-martial. The officers find Billy guilty and sentence him to hang. Billy begs Vere to save him, and the officers appeal to him for guidance, but Vere remains silent and accepts their verdict. He goes into the cabin where Billy is being held. The meeting between Captain Vere and Billy Budd is represented by 34 orchestral block chords, with no words.[28] (This was the end of Act 3 in the four-act version.)
Billy prepares for his execution in his cell. Dansker brings him a drink and reveals that the crew is willing to mutiny for his sake, but Billy argues against that and is resigned to his fate. At four o'clock that morning, the crew assembles on deck, and Billy is brought out. The Articles of War are read, and state that Billy must be hanged. Just before his execution, he praises Vere with his final words, singing "Starry Vere, God Bless you!". Following the execution, the crew begins to mutter in disaffection, which the officers quickly react to suppress.
Epilogue
Vere, as an old man, remembers Billy's burial at sea, and acknowledges that he could have saved Billy, but failed to do so, thinking that Billy has instead blessed and saved him. As he recalls Billy's blessing, he realises he has discovered genuine goodness and can be at peace with himself.
https://en.wikipedia.org/wiki/Billy_Budd_(opera)
Nocturne Presented by Yvonne Schwerdt
ELGAR Cantique Op 3 DONALD HUNT, ORGAN
SUMSION Ceremonial March DONALD HUNT, ORGAN
WEBER, C Piano Sonata No 2 in A flat major Op 39 STEPHANIE MCCALLUM, PIANO
WEBER, J String Quintet in D major DIVERTIMENTI ENSEMBLE
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Presented by Glen Quick
"Das Spitzentuch der Königin" (The Queen's Lace Handkerchief) is an operetta by Johann Strauss II. The libretto by Heinrich Bohrmann-Riegen and Richard Genée .
Nadja Stefanoff, Jessica Glatte, Elke Kottmair, Ralf Simon, Markus Liske, Hary Brachmann, Gritt Gnauck, Choir & Orchester der Staatsoperette Dresden, Ernst Theis conductor
It was first performed on 1 October 1880 in Vienna at the Theater an der Wien under the composer's direction by Therese Braunecker-Schäfer, Alexander Girardi, Eugenie Erdösy, Karoline Tellheim, Hermine Meyerhoff, Felix Schweighofer and Ferdinand Schütz.[2] The piece was adapted for Broadway in 1882, with some additional songs by Solomon and Stephens, and (once the new Casino Theatre solved its mechanical problems) ran successfully for 130 performances.[3]
The work is rather obscure nowadays, but the waltz "Rosen aus dem Süden" (Roses from the South), which incorporates melodies from the operetta, is well known. A revised version by Erich Wolfgang Korngold under the title Das Lied der Liebe (The Song of Love) was premiered in Berlin on 23 December 1931 with Richard Tauber and Anny Ahlers in leading roles.
https://en.wikipedia.org/wiki/Das_Spitzentuch_der_K%C3%B6nigin
Nocturne presented by Glen Quick
STRAUSS, R. Waltz Suite from Der Rosenkavalier arr Rudolf Kempe Staatskapelle Dresden Conductor Rudolf Kempe
VERDI, G. Ballet Music I Vespri Siciliani Cleveland Orchestra Conductor Lorin Maazel
SCRIABIN, A Twelve Etudes Op 8 Piers Lane [piano]
RIMSKY-KORSAKOV, N. Suite from The MAid of Pskov Moscow Symphony Orchestra Conductor Igor Golovschin
LYAPUNOV, S.M. Violin Concert in D minor Op 61 Maxim Fedotov [violin] Russian Philharmonic Orchestra Conductor Dmitry Yablonski
HALVORSEN, J. Passa caglia for Violin & Viola Op 20/2 Melina Madozzi [violin] Ilze Klava [viola]
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Presented by Christopher Stone
Synopsis
Act 1
Naples, 1798. The palazzo of the English ambassador, Sir William Hamilton. At a grand reception, the fortune-teller Mme. Serafina prophesies to Nelson that he will have to choose between love and duty. He meets Emma, and they realise that they love each other.
Act II Scene I
Dover Street, London, 1800. Nelson's wife chides him with his passion for Emma, but Emma herself declares her love for him.
Scene IIAugust 1805, a few weeks before the Battle of Trafalgar. A garden in Nelson's country retreat, Merton Place, outside London. Lord Minto and Captain Hardy advise Nelson to end his affair with Emma, which has become the talk of the town. Emma arrives and the lovers pledge their affection, but at this moment a summons artrives to instruct Nelson to take command of the Fleet.
Act III Scene I
Outside the George Inn, Portsmouth. Nelson is boarding his ship, the H.M.S. Victory. He and Emma bid each other farewell.
Scene IIA cabin in the Victory during the Battle of Trafalgar. The dying Nelson is brought to the surgeon who is dealing with the injured. Nelson's last thoughts are of Emma.
Scene III
The garden in Merton Place. Hardy brings the news of Nelson's death to Emma. She recalls Serafina's prophecy.
https://en.wikipedia.org/wiki/Nelson_(opera)
NOCTURNE
Presented by Christopher Stone
TIPPETT Fantasia Concertante on a theme of Corelli
RAWSTHORNE Oboe Concerto
BEETHOVEN String Quartet No 5 in A major Op 18 No 5
SCHUBERT Piano Sonata in A minor D784
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Presented by Yvonne Schwerdt
PUCCINI, G Il Tabarro
Synopsis
It is close to sunset in Paris, and the stevedores work unloading Michele's barge. Giorgetta, Michele's wife, asks her husband if she can bring wine to the workers. He agrees but does not join them because she refuses his kiss. The stevedores start dancing to the music of a nearby organ grinder and one of them steps on Giorgetta's foot. Luigi, a stevedore, dances with her, and it is evident that there is something between them. Upon hearing of Michele's return the stevedores' gathering breaks up.
Work is getting scarce and Giorgetta and Michele discuss which of the stevedores should be dismissed; she prefers that it be anyone other than Luigi despite him being Michele's first choice. Soon the conversation turns into a fight. La Frugola enters, looking for Talpa, her husband and one of the stevedores. She shows everyone the fruits of her scavenging in Paris and scolds the men for their drinking. Luigi laments his lot in life, and La Frugola sings of her wish to one day buy a house in the country where she and her husband can retire. Giorgetta and Luigi sing a duet about the town where they were both born.
The stevedores depart except for Luigi, who asks Michele to dismiss him and let him off in Rouen, but Michele convinces him against this, saying there is not enough work in Rouen. When they are alone, Giorgetta asks Luigi why he requested to be dismissed; the pair acknowledge their love. They plan to meet later that evening upon the signal of a match being lit on board. By now Luigi seems determined to kill Michele and flee with Giorgetta.
Michele later reminisces with Giorgetta of the days before their child died and how he could cover the two of them under his cloak. He is distressed about being twice her age; she comforts him but she still will not kiss him, and goes off.
Michele wonders aloud if Giorgetta is still faithful to him and ponders who might have changed her so much. He reviews the list of men who have shared in their lives but dismisses each of them as improbable. Michele lights his pipe and Luigi, seeing it from afar, thinks that it is Giorgetta's signal. He returns to the barge and is confronted by Michele. In the ensuing fight, Michele disarms Luigi and forces him to confess his affair with Giorgetta before strangling him to death and hiding Luigi's body under his cloak. Giorgetta returns to the barge, approaching him remorsefully after their fight earlier, and when she is close enough Michele opens his cloak to reveal her dead lover, Luigi's lifeless body falling on Giorgetta. Michele smothers her to death on Luigi's body.
https://en.wikipedia.org/wiki/Il_tabarro
PUCCINI, G Suor Angelica
SynopsisThe opera opens with scenes showing typical aspects of life in the convent – all the sisters sing hymns, the Monitor scolds two lay-sisters, everyone gathers for recreation in the courtyard. The sisters rejoice because, as the mistress of novices explains, this is the first of three evenings that occur each year when the setting sun strikes the fountain so as to turn its water golden. This event causes the sisters to remember Bianca Rosa, a sister who has died. Sister Genevieve suggests they pour some of the "golden" water onto her tomb.
The nuns discuss their desires. While the Monitor believes that any desire at all is wrong, Sister Genevieve confesses that she wishes to see lambs again because she used to be a shepherdess when she was a girl, and Sister Dolcina wishes for something good to eat. Sister Angelica claims to have no desires, but as soon as she says so, the nuns begin gossiping – Sister Angelica has lied, because her true desire is to hear from her wealthy, noble family, whom she has not heard from in seven years. Rumors are that she was sent to the convent in punishment.
The conversation is interrupted by the Infirmary Sister, who begs Sister Angelica to make a herbal remedy, her specialty. Two tourières arrive, bringing supplies to the convent, and news that a grand coach is waiting outside. Sister Angelica becomes nervous and upset, thinking rightly that someone in her family has come to visit her. The Abbess chastises Sister Angelica for her inappropriate excitement and announces the visitor, the Princess, Sister Angelica's aunt.
The Princess explains that Angelica's sister is to be married and that Angelica must sign a document renouncing her claim to her inheritance. Angelica replies that she has repented of her sin, but she cannot offer up everything in sacrifice to the Virgin – she cannot forget the memory of her illegitimate son, who was taken from her seven years ago. The Princess at first refuses to speak, but finally informs Sister Angelica that her son died of fever two years ago. Sister Angelica, devastated, signs the document and collapses in tears. The Princess leaves.
Sister Angelica is seized by a heavenly vision – she believes she hears her son calling for her to meet him in paradise. She makes a poison and drinks it, but realizes that in committing suicide, she has committed a mortal sin and has damned herself to eternal separation from her son. She begs the Virgin Mary for mercy and, as she dies, she sees a miracle: the Virgin Mary appears, along with Sister Angelica's son, who runs to embrace her.
https://en.wikipedia.org/wiki/Suor_Angelica
PUCCINI, G Gianni Schicchi
SynopsisThe story takes place in Florence, 1299. As Buoso Donati lies dead in his curtained four-poster bed, his relatives gather round to mourn his passing, but are really more interested in learning the contents of his will. Among those present are his cousins Zita and Simone, his poor-relation brother-in-law Betto, and Zita's nephew Rinuccio. Betto mentions a rumour he has heard that Buoso has left everything to a monastery; this disturbs the others and precipitates a frantic search for the will. The document is found by Rinuccio, who is confident that his uncle has left him plenty of money. He withholds the will momentarily and asks Zita to allow him to marry Lauretta, daughter of Gianni Schicchi, a newcomer to Florence. Zita replies that if Buoso has left them rich, he can marry whom he pleases; she and the other relatives are anxious to begin reading the will. A happy Rinuccio sends little Gherardino to fetch Schicchi and Lauretta.
As they read, the relatives' worst fears are soon realised; Buoso has indeed bequeathed his fortune to the monastery. They break out in woe and indignation and turn to Simone, the oldest present and a former mayor of Fucecchio, but he can offer no help. Rinuccio suggests that only Gianni Schicchi can advise them what to do, but this is scorned by Zita and the rest, who sneer at Schicchi's humble origins and now say that marriage to the daughter of such a peasant is out of the question. Rinuccio defends Schicchi in an aria "Avete torto" ("You're mistaken"), after which Schicchi and Lauretta arrive. Schicchi quickly grasps the situation, and Rinuccio begs him for help, but Schicchi is rudely told by Zita to "be off" and take his daughter with him. Rinuccio and Lauretta listen in despair as Schicchi announces that he will have nothing to do with such people. Lauretta makes a final plea to him with "O mio babbino caro" ("Oh, my dear papa"), and he agrees to look at the will. After twice scrutinizing it and concluding that nothing can be done, an idea occurs to him. He sends his daughter outside so that she will be innocent of what is to follow.
First, Schicchi establishes that no one other than those present knows that Buoso is dead. He then orders the body removed to another room. A knock announces the arrival of the doctor, Spinelloccio. Schicchi conceals himself behind the bed curtains, mimics Buoso's voice, and declares that he is feeling better; he asks the doctor to return that evening. Boasting that he has never lost a patient, Spinelloccio departs. Schicchi then unveils his plan in the aria "Si corre dal notaio" ("Run to the notary"); having established in the doctor's mind that Buoso is still alive, Schicchi will disguise himself as Buoso and dictate a new will. All are delighted with the scheme, and importune Schicchi with personal requests for Buoso's various possessions, the most treasured of which are "the mule, the house and the mills at Signa". A funeral bell rings, and everyone fears that the news of Buoso's death has emerged, but it turns out that the bell is tolling for the death of a neighbour's Moorish servant. The relatives agree to leave the disposition of the mule, the house and the mills to Schicchi, though each, in turn, offers him a bribe. The women help him to change into Buoso's clothes as they sing the lyrical trio "Spogliati, bambolino" ("Undress, little boy"). Before taking his place in the bed, Schicchi warns the company of the grave punishment for those found to have falsified a will: exile from Florence together with the loss of a hand.
The notary arrives, and Schicchi starts to dictate the new will, declaring any prior will null and void. To general satisfaction, he allocates the minor bequests, but when it comes to the mule, the house and the mills, he orders that these be left to "my devoted friend Gianni Schicchi". Incredulous, the family can do nothing while the lawyer is present, especially when Schicchi slyly reminds them of the penalties that discovery of the ruse will bring. Their outrage when the notary leaves is accompanied by a frenzy of looting as Schicchi chases them out of what is now his house.
Meanwhile, Lauretta and Rinuccio sing a love duet, "Lauretta mia", as there is no bar to their marriage since Schicchi can now provide a respectable dowry. Schicchi, returning, stands moved at the sight of the two lovers. He turns to the audience and asks them to agree that no better use could be found for Buoso's wealth: although the poet Dante has condemned him to hell for this trick, Schicchi asks the audience to forgive him in light of "extenuating circumstances."
https://en.wikipedia.org/wiki/Gianni_Schicchi
NOCTURNE with Yvonne Schwerdt
HAYDN, J Fortepiano Trio No 18 in A major Hob.XV:18
DITTERSDORF, C Symphonies after Ovid's Metamorphoses Sinfonia No 2 in D major The Fall of Phaeton
REICHA, A Wind Quintet in E flat major Op 88 No 2
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Presented by Glen Quick
FRANZ LEHÁR Eva
Operetta in three acts. (Music by Franz Lehár: Book and lyrics by Alfred Maria Willner and Robert Bodanzky: *English by Adam Carstairs) Theater an der Wien, Vienna 24 November, 1911 Eva, the foster-child of Bernard Larousse, the foreman of a glass factory in Brussels, is celebrating her twentieth birthday. She is immediately attracted to Octave Flaubert, the dashing son of the owner of the factory who has arrived to take over the management of his father's business. Octave tries to seduce Eva and as a result finds himself in opposition to Larousse and the factory workers who are anxious to defend Eva's honour. Eva, realising Octave's true intentions, runs away to Paris in disgust but, having tasted the life of the demi-monde, finally finds refuge in the arms of the love-sick Octave.
Synopsis
Act I:
In the machine room of a glass factory near Brussels the workers are celebrating the twentieth birthday of their beloved goddaughter Eva. On this occasion the workers give her a savings deposit book with 1,200 francs. "As your trousseau someday when you get married", as Larousse, the head foreman, sobbingly admits. He is Eva's foster father and once loved her mother before she went off with another man, Eva's biological father. But the other man left the single mother after her daughter's birth. In her despair she asked Larousse to take care of her daughter. Eva wonderfully beautiful ... with the radiant aura of the fairy tale's alluring glow. This dream of happiness can only with difficulty be brought into harmony with her sober, everyday existence in the factory, and so Eva longingly imagines herself in a world that is brighter than ours. And it is precisely from this world, and precisely on her birthday, that the new factory owner comes. His name is Octave Flaubert, and he is still having difficulty adjusting to his new role:
Up until now the young bon-vivant has made his home in Paris and is used to getting up at three in the afternoon! Fortunately, he finds a kindred spirit in Prunelles, the assistant bookkeeper. Among hypocrites, he is the only man with a sympathetic heart! If only his friend Dagobert, another rich heir, had not come blustering in together with Pepita Desiree Paquerette, a swindling seller of men's undergarments. The same lady spends her vacations seeking a deliverer to protect her from her supposedly violent husband. Deliverer Dagobert has blind faith in her, calls her Pipsi, and has a rhyme to match. Prunelles, however, immediately recognises her as his last vacation playmate, while initially not intending to exploit this inside information. Then the noon bell rings, and the workers receive their new boss. He immediately gets him on their side by letting them have the rest of the day off and having Larousse hand out a thousand francs. He then meets Eva. Octave is surprised and overwhelmed by her beauty and offers to take her from the factory floor. Eva brusquely refuses to take over the typewriter in his office and avoids further advances by fleeing.
Act II:
True to his motto, »If I don't go to Paris, then Paris comes to me!" Octave has invited his Parisian friends to his villa next to the factory. The mood is one of boisterous mirth, the ladies' wardrobe, "ultra-chic" and the gentlemen's state of mind, confused by Pipsi, around whom they all are swarming, who has suddenly announced in song, "Am neither a Miss nor Mrs! Pipsi manages to fend them off by Dagobert, who catches her with PruneIles, and who saves the situation by pretending to be her supposedly violent husband. Attracted by Parisian sophistication, Eva also make an unexpected appearance - observed only by Octave, who has been unable to get her off his mind ever since their first meeting. He is delighted and succeeds in persuading her to come to his party, during which he wants to present her to his society. He of course furnishes his Cinderella with the corresponding outfit. Celebrated with enthusiasm by the revelers, Eva surrenders to the general champagne- induced giddy mirth. The workers rush into the room in order to reclaim their goddaughter, whom they believe has been seduced. But Eva does not want to go, and Octave shields her, standing in front of her. When the workers are about to take her away by force, Octave suddenly declares that she is his fiancée. The revolt is quashed! A little white lie was certainly in order. The main thing is - they believed it! Eva is flabbergasted for she too believed it.
Act III:
The disillusioned Eva has fled with Pipsi to Paris, where within a short time she has undergone an astonishing transformation. Who would have thought that a little factory girl could become a much-wooed Parisienne? Eva herself is astonished and smoking a cigarette, too. Courted by the Duke of Morny, she leads the life of a demi-mondaine and plunges into the whirlpool of life. But the man whom she would like to forget suddenly surfaces: Octave, lured to Paris by Pipsi and Dagobert under false pretences. The two are surprised and overwhelmed - Octave by Eva's dazzling Paris appearance and Eva by the "fairy tale's alluring glow ... It gives you the king's son as your reward!"
https://www.guidetomusicaltheatre.com/lehar/eva.htm
NOCTURNE Presented by Glen Quick
BACH, JS Brandenburg Concerto No 5 inD major BWV1050 [19.59]
BACH, JS Keyboard Concerto No 3 in D major BWV1054 [16.11]
MENDELSSOHN, F. Piano Trio No 2 in D minor Op 66 [31.05]
RACHMANINOV, S Cello Sonata in G minor Op 19 [31.41]
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GF Handel - RODELINDA, REGINA DE' LONGOBARDI (HWV 19)
Presented by Christoper Stone
Lucy Crowe (Rodelinda)
Iestyn Davies (Bertarido)
Joshua Ellicott (Grimoaldo)
Brandon Cedel (Garibaldo)
Jess Dandy (Eduige)
Tim Mead (Unulfo)
The English Concert, Directed by Harry Bicket
Illustrated is Francesca Cuzzoni who was the first to play in the title role.
First performance: 13th February 1725, King's Theatre, London. The libretto is by Nicola
Francesco Haym, based on an earlier libretto by Antonio Salvi. An immediate success when first performed, Rodelinda was the third great opera Handel had written in twelve months – an astonishing achievement. It followed on the success of Giulio Cesare and Tamerlano, and once again starred the ideal pairing of the castrato Senesino and soprano Francesca Cuzzoni.
Of Cuzzoni’s appearance in Rodelinda Horace Walpole said: ‘She was short and squat, with a doughy cross face, but fine complexion; was not a good actress; dressed ill; and was silly and fantastical. And yet on her appearing in this opera, in a brown silk gown trimmed with silver, with the vulgarity and indecorum of which all the old ladies were much scandalised, the young adopted it as a fashion, so universally, that it seemed a national uniform for youth and beauty’.
In May 1725 Handel published the full score of Rodelinda, relying for the first time on a group of subscribers to cover the costs of setting and publication. Over the following years eight operas, one choral ode (Alexander’s Feast) and the Concerti Grossi Op. 6 would be published in the same way. Among the first subscribers were Charles Jennens, who in 1741 provided Handel with the libretto for Messiah, and John Rich who at the time was manager of the Theatre in Lincoln’s Inn Fields. In 1728 Rich was the producer of John Gay’s enormously popular The Beggar’s Opera, and built the first opera house in Covent Garden on the proceeds.
Synopsis
Act I: The opera opens with Rodelinda’s lament for Bertarido, the husband she believes to be dead. “Ho perduto il caro sposo”, she sings, voicing the tragedy that is the central fact of her life as she sits alone and weeping in the palace. Though Rodelinda will pass through grief, misery and fury, her fidelity to Bertarido’s memory is inflexible and defines her every action until their joyous reunion.
She is disturbed by the arrival of Grimoaldo, the usurper of her husband’s throne, who declares both his love and his desire to marry her. Garibaldo, his henchman, arrives, and suggests that his patron free himself of the woman he once promised to marry, Eduige, who complicates the plot by also being Bertarido’s sister. But Garibaldo – falsely, since he is a villain – protests his love to Eduige, believing she will help him attain the throne, to which she has a claim so long as Rodelinda’s son, Flavio, is still a minor.
A disguised Bertarido appears at his own tomb and reads the inscription. He reflects upon the hollow splendour of man’s ambitions in a long accompanied recitative, “Pompe vane”.5 Longing for Rodelinda, he sings the meltingly beautiful aria “Dove sei”, declaring that only in her presence can he find consolation for his sorrow.
Unulfo appears but is unable to comfort his friend, the devastated Bertarido. They hide when they hear Rodelinda approach the tomb and give voice to her misery in the aria “Ombre, piante”, then are forced to listen to Garibaldo threaten her: either she marries Grimoaldo or Flavio will die. She agrees to the union but vows that her first request as queen will be the head of Garibaldo, the Iago-like counsellor of Grimoaldo. Her sober mournfulness now turns to something more passionate: “Morrai, sì” is a surprisingly sprightly hymn to future vengeance.
But it is not enough to persuade Bertarido of her fidelity when, from a hidden place, he hears her agree to marry his enemy Grimoaldo. Immediately certain of her infidelity, he launches into the bitter “Confusa si miri”. He vows to appear to her when she is married.
Act 2: The importunate Garibaldo is surprised at Eduige’s consent to marry him since she has lost Grimoaldo. Meanwhile Rodelinda, tormented past bearing by his overtures, turns on Grimoaldo with a test of his own monstrosity and declares that she will marry him only if he will murder her son in front of her eyes (thus proving his absolute villainy). Unulfo urges him to refuse; Garibaldo urges him to accept. The distressed Grimoaldo hastens from the scene, leaving Garibaldo to plot his master’s downfall.
Bertarido stands in “a pleasant landscape” and gives himself over to the pathetic fallacy: nature’s sounds and sights mirror his own anguish. Eduige is reunited with her brother, astonished to find Bertarido alive and elated to hear that his sole aim is to save his wife and son (and not to reclaim the kingdom). Unulfo appears and assures Bertarido that his wife is in fact faithful to him, and both his heart and his aria turn joyful in “Scacciata dal suo nido”.
Unulfo then goes to Rodelinda and assures her that her husband still lives and soon will return to her: “Ritorna, o caro” gives voice to her rhapsodic joy and longing. Bertarido seeks her out in the palace and kneels to beg her forgiveness for having doubted her constancy.
They are no sooner united than discovered, as Grimoaldo arrives.
To save Rodelinda’s reputation, Bertarido reveals that he is her husband, but, in order to protect him, she denies this. Grimoaldo, uninterested in the man’s identity, condemns him to prison and certain death. The last the loving couple believe they will know of one another are the final moments of “Io t’abbraccio”.
Act 3: Eduige gives Unulfo a key to rescue the imprisoned Bertarido while Garibaldo, bad to the very end, urges Grimoaldo to kill him. In a dungeon, Bertarido reflects upon his fate in “Chi di voi”, the music as restless as his spirit. His lament is interrupted by both a sword dropped down to him by Eduige and the arrival of Unulfo with the key: mistaking his friend for the executioner, Bertarido stabs and wounds him. No sooner has he realized his mistake than distant voices force them to flee. They leave behind a bloody cloak, which the arriving Rodelinda takes to be that of her husband. Certain that he is dead, she lapses into re-doubled grief in “Se ’l mio duol”, begging God to strike a dagger through her heart. Grimoaldo takes an honest look at the beast he has become, longs for a shepherd’s simple life and seeks escape in sleep. Garibaldo, discovering him, tries to kill him but is prevented by Bertarido: too noble to allow his enemy Grimoaldo to fall victim to treachery, Bertarido drives Garibaldo off and kills him.
The waking Grimoaldo is confronted by his enemy’s declaration (in one of Handel’s greatest stand-and-deliver arias, “Vivi, tiranno”), witnessed by the entering Rodelinda, that Bertarido has spared him and saved his life. Proof of such clemency moves Grimoaldo to repentance: he gives Bertarido his wife, his son and his throne, and the royal lovers are reunited to general rejoicing.
https://en.wikipedia.org/wiki/Rodelinda_(opera)
NOCTURNE with Christopher Stone
BEETHOVEN String Quartet No 3 in D major Op 18 No 3 [22.58]
SCHUBERT Impromptu in C minor D899 [9.30]
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Presented by Yvonne Schwerdt
Tonight's opera is based on an 1835 play by Victor Hugo called Angelo, Tyrant of Padua. First performed in 1876. The opera was a major success for Ponchielli and was his most successful Italian grand opera. The opera was revised twice and the third and final version is used today. This opera is regularly performed in modern times.
Synopsis
The opera's title translates as The Happy Woman, but is usually given in English as The Ballad Singer. However, as this fails to convey the irony inherent in the original, the Italian is usually used. Each act of La Gioconda has a title.
Place: Venice Time: 17th century
The story revolves around a woman, Gioconda, who so loves her mother that when Laura, her rival in love for the heart of Enzo, saves her mother's life, Gioconda puts aside her own romantic love to repay her. The villain Barnaba tries to seduce Gioconda, but she prefers death.
Act 1 The Lion's Mouth
The courtyard of the Doge's Palace
During Carnival celebrations before Lent, while everyone else is preoccupied with a regatta, Barnaba, a state spy, lustfully watches La Gioconda as she leads her blind mother, La Cieca, across the Square. When his amorous advances are firmly rejected, he exacts his revenge by denouncing the old lady as a witch whose evil powers influenced the outcome of the gondola race. It is only the intervention of a young sea captain that keeps the angry mob at bay.
Calm is restored at the approach of Alvise Badoero, a member of the Venetian Inquisition, and his wife, Laura. Laura places La Cieca under her personal protection, and in gratitude the old woman presents her with her most treasured possession, a rosary. The sharp-eyed Barnaba notices furtive behaviour between Laura and the sea captain indicating a secret relationship. Recalling that Laura was engaged to the now banished nobleman Enzo Grimaldo before her forced marriage to Alvise, Barnaba realises that the sea captain is Enzo in disguise.
Barnaba confronts Enzo, who admits his purpose in returning to Venice is to take Laura and begin a new life elsewhere. Barnaba knows that Gioconda is also infatuated with Enzo and he sees an opportunity to improve his chances with her by assisting Enzo with his plan of elopement.
When Enzo has gone, Barnaba dictates a letter to be sent to Alvise, revealing his wife's infidelity and the lovers' plan of escape. He is unaware that he has been overheard by Gioconda. The act ends with Barnaba dropping the letter into the Lion's Mouth, where all secret information for the Inquisition is posted, while Gioconda laments Enzo's perceived treachery, and the crowd returns to its festivities.
Act 2 The Rosary
The deck of Enzo's ship
Giaconda's Act II costume (from the original 1876 production) by Alfredo Edel.
Enzo waits for Barnaba to row Laura out from the city to his vessel. Their joyful reunion is overshadowed by Laura's fears as she does not trust Barnaba. Gradually Enzo is able to reassure her, and he leaves her on deck while he goes to prepare for their departure.
La Gioconda has been following Laura with the intention of exacting revenge from her rival. Alvise and his armed men are also in hot pursuit, but as Gioconda is about to stab Laura she sees her mother's rosary hanging round her neck and, realizing that it was Laura who saved her mother, has an instant change of heart. She hurries Laura into her boat so that she can evade her pursuers.
Enzo returns to the deck to find that Laura has fled leaving Gioconda triumphant. Furthermore, Alvise's men are rapidly approaching. Enzo sets fire to the ship rather than let it fall into the hands of his enemies before diving into the lagoon.
Act 3 The Ca' d'Oro (House of Gold)
Alvise's palace
Laura has been captured, and her vengeful husband insists she must die by poisoning herself (effectively committing suicide and condemning herself to Hell). Once again Gioconda has followed and has found her way into the palace, this time with the intention of saving her rival. Finding Laura alone Gioconda replaces the phial of poison with a powerful drug which creates the appearance of death. The second scene begins with Alvise welcoming his fellow members of the nobility to the palace; Barnaba and Enzo are amongst those present. Lavish entertainment is provided and the act ends with the famous ballet Dance of the Hours. The mood of revelry is shattered as a funeral bell begins to toll and the body of Laura is revealed awaiting burial. A distraught Enzo flings off his disguise and is promptly seized by Alvise's men.
Act 4 The Orfano Canal
A crumbling ruin on the island of Giudecca
In exchange for Enzo's release from prison, La Gioconda has agreed to give herself to Barnaba. When Enzo is brought in, he is initially furious when Gioconda reveals that she has had Laura's body brought from its tomb. He is about to stab her when Laura's voice is heard and Gioconda's part in reuniting the lovers becomes clear. Enzo and Laura make their escape, leaving La Gioconda to face the horrors awaiting her with Barnaba. The gondoliers' voices are heard in the distance telling that there are corpses floating in the city. When Gioconda tries to leave, she is caught by Barnaba. She then pretends to welcome his arrival, but under cover of decking herself in her jewellery, seizes a dagger and stabs herself to death. In frustrated rage Barnaba tries to perpetrate one last act of evil, screaming at the lifeless body "Last night your mother offended me. I drowned her!"
https://en.wikipedia.org/wiki/La_Gioconda_(opera)
NOCTURNE with Yvonne Schwerdt
VIVALDI Cello Sonata in B flat major RV45 [13.55]
MOZART Arr Overton The Magic Flute Arranged for Two Flutes and Orchestra [22.11]
RIES Piano Sonata in B minor WoO 11 [22.04]
SCHUMANN Scenes from Childhood Day-Dreaming [3.30]
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Presented by Christopher Stone
Martha, oder Der Markt zu Richmond (Martha, or The Market at Richmond) is a romantic comic opera in four acts by Friedrich von Flotow set to a German libretto by Friedrich Wilhelm Riese and based on a story by Jules-Henri Vernoy de Saint-Georges.
Flotow had composed the first act of a ballet, Harriette, ou la servante de Greenwiche, derived from a text by Saint-Georges, for the ballerina Adèle Dumilâtre. This was first performed by the Paris Opera Ballet at the Salle Le Peletier on 21 February 1844. The time available for the composition was short, so the second and third acts were assigned, respectively, to Friedrich Burgmüller and Édouard Deldevez. The opera Martha was an adaptation of this ballet.
https://en.wikipedia.org/wiki/Martha_(opera)
NOCTURNE with Christopher Stone
SCHUBERT Piano Sonata No 19 in C minor D958 [30.52]
BEETHOVEN String Quartet No 2 in G major Op 18 No 2 [22.46]
BEETHOVEN Trio No 4 in B major for Piano, Clarinet & Cello Op 11 [19.15]
DVOŘÁK String Quartet No 12 in F major Op 96 American [27.05]
SCHUMANN Fantasiestücke for Piano & Cello Op 73 [10.31]
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Presented by Glen Quick
Les Troyens is a French grand opera in five acts by Hector Berlioz. The libretto was written by Berlioz himself from Virgil's epic poem the Aeneid; the score was composed between 1856 and 1858.
Les Troyens is Berlioz's most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety. Under the title Les Troyens à Carthage, the last three acts were premièred with many cuts by Léon Carvalho's company, the Théâtre Lyrique, at their theatre (now the Théâtre de la Ville) on the Place du Châtelet in Paris on 4 November 1863, with 21 repeat performances. After decades of neglect, today the opera is considered by some music critics as one of the finest ever written.
(Wikipedia)
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Presented by Glen Quick
Les Troyens is a French grand opera in five acts by Hector Berlioz. The libretto was written by Berlioz himself from Virgil's epic poem the Aeneid; the score was composed between 1856 and 1858.
Les Troyens is Berlioz's most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety. Under the title Les Troyens à Carthage, the last three acts were premièred with many cuts by Léon Carvalho's company, the Théâtre Lyrique, at their theatre (now the Théâtre de la Ville) on the Place du Châtelet in Paris on 4 November 1863, with 21 repeat performances. After decades of neglect, today the opera is considered by some music critics as one of the finest ever written.
(Wikipedia)
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Presented by Chris Stone
Werther is an opera (drame lyrique) in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont). It is loosely based on Goethe's epistolary novel The Sorrows of Young Werther, which was based both on fact and on Goethe's own early life.
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Presented by Yvonne Schwerdt
Der Rosenkavalier (The Knight of the Rose or The Rose-Bearer[1]), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal.[2]
It is loosely adapted from the novel Les amours du chevalier de Faublas by Louvet de Couvrai and Molière's comedy Monsieur de Pourceaugnac.[3]
It was first performed at the Königliches Opernhaus in Dresden on 26 January 1911 under the direction of Max Reinhardt,[4] Ernst von Schuch conducting.
(Wikipedia)
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Presented by Glen Quick
The Abduction from the Seraglio; also known as Il Seraglio is a singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Gottlieb Stephanie, based on Christoph Friedrich Bretzner's Belmont und Constanze, oder Die Entführung aus dem Serail. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Constanze from the seraglio of Pasha Selim. The work premiered on 16 July 1782 at the Vienna Burgtheater, with the composer conducting. (Wikipedia)
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