Gioachino Rossini

SÉMIRAMIDE Semiramis, Queen of Babylon, must choose her new husband after killing her husband King Ninus. She chooses the young commander Arsace, without knowing that it is his son that everyone thought dead ... This masterpiece of dazzling vocal fireworks makes a rare Met appearance—its first in nearly 25 years—with Maurizio Benini on the podium. The all-star bel canto cast features Angela Meade in the title role of the murderous Queen of Babylon, who squares off in breathtaking duets with Arsace, a trouser role sung by Elizabeth DeShong. Javier Camarena, Ildar Abdrazakov, and Ryan Speedo Green complete the stellar cast.

Conductor

Maurizio Benini

Sémiramis

Angela Meade

soprano

Arsace

Elisabeth DeShong

Mezzo-soprano

Idreno

Javier Camarena

tenor

Assur

Ildar Abdrazakov

bass

Oroe

Ryan Speedo Green

Baryton-bass

Azema, princesse

Sarah Shafer

soprano

Mitrane Capitaine de la

garde

Kang Wang

tenor

Fantome du roi Nino

Jeremy Galyon

Bass

DATE : Saturday 10th March 2018

Time : 6.25 pm Opera in 2 acts by Gioachino Rossinii

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SEMIRAMIDE

World Premiere: Teatro La Fenice, Venice, 1823. Semiramide is the culmination of the Italian phase of Rossini’s monumental yet unusual career. He had already produced such immortal comedies as Il Barbiere di Siviglia and L’Italiana in Algeri, but in the early 19th century he was celebrated above all else for his tragedies—none more so than Semiramide. For decades after its premiere, the opera swept through the music capitals of Europe and beyond, enthralling audiences with its urgent, transcendentally beautiful use of melody; undeniably exhilarating drama; and, most importantly, astonishing vocal displays.

Setting

Rossini’s epic is set in ancient Babylon,

now modern-day Iraq, a kingdom which

flourished between the 18th and sixth

centuries BCE. While the opera does

include a handful of local details for

color, including the legendary Hanging

Gardens, Rossini and Rossi were more

concerned with establishing a feeling of

legend and wonder than presenting any

true historical accuracy.

Music

The music of Semiramide combines the cherished assets of Rossini’s style—magnificent vocalism, irresistible melody, buoyant energy—with achievements unique to this score. The extremely difficult vocal style necessary for the solos is evident from the title character’s ravishing aria, “Bel raggio lusinghier.” Rossini’s famous mastery of rhythm forms the core of this opera. In the justly famous duets, subtle rhythmic changes and pulsing melodic figures illustrate the characters’ emerging realizations. And the towering ensembles, such as the extended Act I finale, are proof of the vast musical conception Rossini realized in this opera, far beyond opportunities limited to superficial vocal display.

Composer Gioachino Rossini 1792-1868

Born in Pessaro (Italy) on February 29, 1792 - died in Passy (France) on November 13, 1868. His father, born in 1764, from Lugo, became trumpet of the city in 1790, he will also be inspector for butcheries. In 1798-1799, he is horn player at the teatro, and impressario. He is nicknamed "Vivazza" for his good character. In 1791, he married a soprano, daughter of a baker, Anna Guidarini. It appears on several scenes in northern Italy, from 1798. In the 1800s, his father was fired from his municipal jobs, and briefly imprisoned, because of his Republican commitment. Music is then the only resource of the family. His parents are from town to town, Rossini is placed with his grandmother in Pesaro, then with a shopkeeper in Bologna, but he also seems to have accompanied his parents, since he is reported at the carnival of Fano in 1801, as a violinist alto. He receives private piano lessons from a certain G. Prinetti.

Between 1802 and 1804, the family reunited in Lugo. His father teaches him the horn, and he enjoys the lessons of a priest, Don Giuseppe Malerbi. His first known compositions date from this period, some of which are signed by Giuseppe Malerbi. In 1804, his mother had to leave the scene for health reasons, and the family moved to Bologna. Rossini works singing with Angelo Tesei and tenor M. Babini, piano, horn, and Stringed instruments.

Rossini by Vicenzo Camuccini (musée de la Scala de Milan) He finds commitments in church and theater as a singer, choirmaster or harpsichordist. On June 24, 1806, he was admitted among the singers of the Accademia Filarmonica in Bologna, and in April, as a student at the Liceo Musicale in Bologna. He first studied the cello, then in 1807, chose to become a chapel master. In 1809 he was musical director of the Accademia dei Concordi. He composed his first operatic work in 1810, for the Teatro S. Moisè of Venice. His Farsa Il cambiale di matrimonio (the farce of the marriage contract) is successful, which encourages him to continue along this path. He quickly composed for many Italian scenes.

The pietra del paragone, was created at La Scala in Milan, on September 26, 1812. It connects the successes: Tancredi, created at La Fenice in Venice, on February 6, 1813, L'italiana in Algeri, premiered at Teatro San Carlo on May 22, 1813, Elisabetta, regina of Inghilterra [Elizabeth, Queen of England] (1815), Il barbiere di Siviglia [The Barber of Seville] (1816), Armida (1817) Between 1818 and 1822, he was artistic director of Teatro San Carlo in Naples. In 1822, he married the singer Isabella Colbran (1785-1845).

Isabella Colbran (1785-1845), Rossini's first wife, was a renowned prima dona. Vienna, Paris, London, consecrate it in the 1820s. In July 1824, after returning from England, after the success of Seminaride, he obtained a one-year contract from the royal house of France, to produce his works for the first time. Royal Academy (Opera), five months later, he is appointed head of the Italian Theater in Paris, a post he will keep for two years. He is then named first composer of the king and inspector general of the song in France. He knows how to make profitable these lucrative burdens, the annuities which he profits, and the gains produced by his works. His opera William Tell, premiered on August 3, 1829, is a triumph.

In 1830, the revolution made him lose his royal services, the same year he separated from his wife, and abandoned virtually all his musical activity.

Rossini, anonym, Bologne He is still composing a Stabat Mater, which is commanded by a Spanish prelate. This work has great success. He composed plays of circumstance, and numerous works of chamber music, united in a series of collections entitled Sins of old age, often tinged with humor, even frank fun. From 1836 to 1848 he lived in Italy, Milan and Bologna, where he directed Liceo Musicale. In 1846, he marries in second wedding Olympe Louise Alexandrine Descuillers, called Olympe Pélissier. In 1848, the Revolution puts him on the run. He settles permanently in Paris after a stay in Florence.

Synopsis

Act I

Ancient Babylon. The high priest Oroe opens the Temple of Baal, as Idreno, an Indian prince, pays homage. Assur, a prince descended from Baal, brings offerings in hopes that Queen Semiramide will choose him as successor to her late husband. The queen enters, but with a flash of lightning, the sacred altar flame goes out. Believing this to be a bad omen, Oroe warns that the ceremony should not proceed.

Arsace, commander of the Assyrian army, arrives in answer to a summons from Semiramide. He warmly recalls his beloved Azema, whom he once rescued from barbarians. He entrusts a casket containing relics and documents from his late father to Oroe. Assur appears, and when Arsace tells him that he will ask Semiramide for Azema’s hand in reward for his bravery, the older man warns that Azema has been betrothed since birth to Ninia, the missing crown prince. Arsace is defiant in his love, and Assur admits his own desire for Azema. In the Hanging Gardens, Semiramide awaits the arrival of Arsace, whom she hopes to wed. She receives a message from an oracle stating that she will regain peace of mind with a new marriage. When Arsace enters, she tells him that she is aware of Assur’s ambitions for the throne and will not permit Assur to wed Azema. Arsace believes the queen knows of his love for Azema, but Semiramide mistakenly thinks that Arsace’s ardor is meant for herself and vows to give him whatever he desires. In the throne room, Semiramide announces that Arsace will become both king and her husband. The news comes as a surprise to everyone, especially when the queen promises Azema’s hand to Idreno. Thunder and lightning signal the gods’ displeasure, and the ghost of the fallen King Nino appears. He announces that Arsace will reign but only after a victim is sacrificed in atonement. Fearlessly, Arsace vows to avenge the king’s death, but the apparition vanishes, warning Semiramide not to follow until her time has come. The crowd wonders what guilty person could have angered the gods. Act II In a hall within the palace, Assur reminds Semiramide that he arranged Nino’s death so that she could ascend the throne and that she promised her hand to him in return. The queen repudiates his claim and says that if her son Ninia were alive, he would help her. Assur is determined to be avenged. In the sanctuary, Oroe tells Arsace that he is actually the crown prince Ninia and shows him a scroll written by the dying Nino identifying Assur and Semiramide as his assassins. Arsace accepts the duty of killing Assur but cannot bring himself to take his own mother’s life. Azema mourns the loss of her beloved Arsace, but when Idreno appears, she realizes that Arsace hasn’t married the queen yet. Idreno still hopes Azema will accept his love. Semiramide and Arsace enter, but he says that he cannot go through with the marriage, showing her the fatal scroll. Guilt stricken, she bids her newly rediscovered son to kill her and avenge his father, but Arsace hopes that the gods will spare his mother. Outside Nino’s tomb, Assur learns from loyal conspirators that Oroe has frightened the people with omens and their chance to seize the throne is lost. Assur plans to hide in the tomb and ambush Arsace but becomes frightened when he has a vision of an iron hand brandishing a sword. Fearing he has gone mad, his cohorts are relieved when the apparition fades and he regains his composure. In the vault beneath the tomb, a group of priests awaits the traitor who will try to violate its precincts. Guided by Oroe, Arsace enters the vault and conceals himself to await his rival. Assur appears, and Semiramide descends in hopes of saving Arsace. Wandering in the dark, all three feel overcome by fear. When Oroe tells Arsace to strike, he accidentally fells Semiramide, who has stepped between him and Assur. Oroe orders Assur to be arrested and stops Arsace, who despairs at having unintentionally killed his mother, from committing suicide. The people rejoice in the gods’ victory and implore Arsace to assume the throne.

Next broadcast of the Metropolitan Opera New York

COSI FAN TUTTE Wolfgang Amadeus Mozart

Saturday 31th March 2018 6.25 pm