Opera Choruses Booklet - Buywell

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OPERA’S
GREATEST CHORUSES
OPERA QUEENSLAND CHORUS
THE QUEENSLAND ORCHESTRA
JOHANNES FRITZSCH

GIUSEPPE VERDI 1813-1901
1 Vedi! Le fosche (Anvil Chorus) from Il trovatore 2’56
Words by Salvadore Cammarano 1801-1852
Il trovatore is one of Verdi’s most successful operas, despite a convoluted plot involving mistaken
identities, a gypsy curse, and a love triangle. Its heavy vocal demands are best described in the
words of Enrico Caruso, who said it didn’t require anything much, except the four greatest singers in
the world! Act I takes place in the world of the aristocracy – guards discuss the cursed history of
Count di Luna as he waits near his beloved Leonora’s window. She, however, is awaiting her own
beloved, the troubadour Manrico, a gypsy who has been condemned to death by the Count. When
the two men discover each other, a fight is inevitable. The beginning of Act II offers a dramatic
contrast to these dark emotions, as the curtain rises on a poor gypsy camp where Manrico sits by
his mother, Azucena. It is dawn and the gypsies greet the new day with the rousing Anvil Chorus,
a celebration of work, wine and women.
GIUSEPPE VERDI
2 Va’, pensiero (Chorus of the Hebrew Slaves) from Nabucco 4’36
Words by Temistocle Solera 1815-1878
The Opera Queensland Chorus in Verdi’s Nabucco (director: David Freeman), 2007
Nabucco was Verdi’s third opera, and the one whose success, he felt, was a career turning-point.
At its 1842 premiere, one of the choruses, generally thought to be ‘Va’, pensiero’, went over so
well with the audience that it was encored – a rare occurrence indeed for a chorus number. The
plot is an embellishment of the Old Testament story: the historical Nabucco (Nebuchadnezzar)
conquered Jerusalem and sent the Jews back to his native Babylon as slaves. By Act III of the
opera, Nabucco has gone mad and his evil adopted daughter Abigaille has taken charge. She
condemns the Jews to death. By the banks of the Euphrates River they sing this wonderful
chorus, one of the most popular in all opera. Some scholars have recently disputed the
importance of Verdi in the politics of his time, but for nearly a century this was considered to
be a flagship piece for the Italian nationalist movement, with the Jews being a metaphor for
oppressed and patriotic Italians, and the choir itself a metaphor for solidarity, with so much of
the singing in unison.
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PIETRO MASCAGNI 1863-1945
3 Regina coeli laetare (Easter Hymn) from Cavalleria rusticana 6’48
Words: Traditional / Giovanni Targioni-Tozzetti 1863-1934
Dominique Fegan soprano solo, Narelle French organ
This opera is often performed as one half of a double bill with Leoncavallo’s Pagliacci. Like its
companion, it is a masterpiece of verismo – that is, opera with characters who could have come
from ‘real life’, rather than kings, grand warriors and heroes. Both works are set in Italian villages
in the latter half of the 19th century. Both deal with seduction and betrayal – here centring on the
role of Santuzza, an unmarried girl, pregnant to Turiddu, who is now romancing someone else.
The poignancy of the Easter Hymn chorus stems from Santuzza’s social isolation. Her situation
means that she is effectively excommunicated from the church, the social centre of the village –
so first we hear the distant church choir, and then the villagers joining in an Easter hymn, with
Santuzza’s soaring vocal line rising above all. And as with Pagliacci’s Bell Chorus, the innocent
beauty of this music serves to throw the subsequent sorrows into stronger relief.
LUDWIG VAN BEETHOVEN 1770-1827
4 O welche Lust (Prisoners’ Chorus) from Fidelio 6’42
Words by Joseph von Sonnleithner 1766-1835
Bernard Wheaton tenor solo, Sam Hartley baritone solo
Beethoven’s only opera was first performed in Vienna in 1805. With a plot involving the triumph of
individual liberty over political tyranny, it wasn’t entirely popular with the premiere audience, many
of whom were officers in the occupying French army. Beethoven was persuaded by friends to cut
and revise his work, which appeared again in 1806 and then – after further revision – in 1814.
Fidelio is set in a Spanish state prison. Leonore has disguised herself as a young man in order to
find work as a guard, in the hope of finding her husband Florestan who was incarcerated here in
the deepest dungeon two years ago. She persuades her supervisor, Rocco, to allow the prisoners
out in the grounds to feel the sunshine (really of course hoping Florestan might appear among
them): a risky action, but one appreciated by the prisoners. They sing ‘O welche Lust!’ as an
outpouring of relief and happiness at seeing the sky and feeling the sun, and enjoy this brief
moment of apparent freedom.
GIACOMO PUCCINI 1858-1924
5 Humming Chorus from Madama Butterfly 3’12
This opera may be based on real historical events that occurred in Japan towards the end of the
19th century. The story holds such intense human drama that it has been retold in many forms,
from literature to theatre and, perhaps most recently, as the musical Miss Saigon. Puccini’s
heroine is the young and lovely Butterfly, a Japanese girl who falls in love with the American
Lieutenant Pinkerton. After marrying her according to Japanese law, he sails away, promising to
return, though not actually intending to be faithful. Three years later, his ship is seen in the
harbour. Everyone else is aware of Pinkerton’s true nature, but Butterfly remains adamant he
loves her, and prepares for his imminent arrival. Butterfly’s little son (of whose existence
Pinkerton is unaware) and her servant Suzuki fall asleep to the strains of the Humming Chorus,
but Butterfly remains awake in happy anticipation of seeing her beloved again. For the audience,
aware of her impending disappointment, the beauty of this music is tinged with pain. She doesn’t
know he is bringing his new, American, ‘real’ wife. The opera concludes with Butterfly’s suicide.
RICHARD WAGNER 1813-1883
6 Treulich geführt (Bridal Chorus) from Lohengrin 4’06
Words by Richard Wagner
Wagnerian opera can sometimes appear to be a sort of late-19th-century Lord of the Rings, full of
mystery, magic and archaic characters. In Lohengrin, Elsa – a noblewoman who has been
accused of murder – prays for a champion to defend her honour. An unknown knight appears in a
boat drawn by a swan. He defeats her enemies and asks for her hand in marriage, provided that
she never asks his name. She agrees to honour his wish, and they are married; her procession to
the bridal chamber is accompanied by the Bridal Chorus. Alas, seeds of doubt have been sown
and Elsa asks him the fatal question (to which we all know the answer, thanks to the title of the
opera). He sorrowfully reveals himself to be a Swan Knight, Lohengrin, and now that his cover
has been blown he must return to his king. Elsa dies of grief as he departs. The theme of this
opera, dealing with the perils of mistrust between lovers, seems an odd association for music
now known to millions as ‘Here Comes the Bride’.
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RUGGERO LEONCAVALLO 1857-1919
7 Din, don, suona vespero (Bell Chorus) from Pagliacci 3’05
Words by Ruggero Leoncavallo
Like Mascagni, Leoncavallo was a master of verismo opera, and Pagliacci is one of his best-loved
works. Its principal characters are members of a troupe of players who travel around performing
to the Italian peasantry. Much is made of the contrast between the comic characters the
principals must play, and the dark emotions of their real lives.
The players arrive in the village, to much excitement from the locals. Some good-natured teasing
from the crowd provokes a surprisingly vehement response when one of the players, Canio,
threatens violence should his wife Nedda ever be unfaithful. The villagers are slightly shocked by
his intensity, although he tries to smooth it over with a reassuring kiss on Nedda’s forehead. The
church bells ring for vespers, and the people sing the Bell Chorus as they disperse to the church
or to the tavern. This cheerful chorus is carefully placed to provide much-needed lightness –
against which the shadows of Canio’s temper, when Nedda does indeed turn out to be unfaithful,
will stand out more strongly. It also gives the audience a momentary emotional respite, too, with
its charming ‘din don’ motif.
GIUSEPPE VERDI
8 Patria oppressa (Chorus of the Scottish Refugees) from Macbeth 5’54
Words by Francesco Maria Piave 1810-1876, after William Shakespeare
Macbeth was the first of Shakespeare’s plays to be set by Verdi, and although the later Falstaff
and Otello now appear more often in the programs of opera companies, it is also a wonderful
piece of musical drama. It was written in 1846, before most of his really big successes, though
after the instant hit Nabucco (1844). The latter’s Chorus of the Hebrew Slaves is echoed in
Macbeth’s Chorus of the Scottish Refugees, which opens Act IV with an affecting scene of
displaced people longing for their country’s freedom (in this case, from the tyrant Macbeth).
WOLFGANG AMADEUS MOZART 1756-1791
9 O Isis und Osiris, welche Wonne! (Chorus of the Priests) from The Magic Flute 2’33
Words by Emanuel Schikaneder 1751-1812
The Magic Flute was written in 1791, the year of Mozart’s death. Happily, he lived long enough to
enjoy its success with Viennese audiences. Technically it is a ‘Singspiel’, sung in the vernacular
German and including spoken moments (rather than the grander ‘opera’, which was entirely sung,
usually in Italian). Its enduring appeal springs not only from its many great melodies, showy arias
and wonderful characters, but also from its unifying theme of good triumphing over evil, through
love. Mozart was a Freemason, and musicologists and social historians have enjoyed picking out
all the Masonic references in this work. Not least among these is the symbolism given to
Sarastro, the high priest, and his under-priests. They gather as the hero, Tamino, prepares to
undergo trials by fire and by water, and in this chorus they pray to Isis and Osiris, rejoicing that
their new initiate’s enlightenment is near.
GIACOMO PUCCINI
0 Gira la cote (Turn the grindstone!) from Turandot 2’37
Words by Giuseppe Adami 1878-1946 and Renato Simoni 1875-1952
Turandot was the last opera Puccini worked on before his death, and he never completed it. Like
Madama Butterfly, it is notable for its attention to musical colouring. At least eight Chinese
melodies have been identified in the score, and the instrumentation (such as the percussion in
this chorus) also reflects a fin-de-siècle Italian conception of Asian timbres. Some scholars have
thought that Puccini would never have finished this work anyway. The main problem is that the
icy and cruel Princess Turandot has a complete change of heart in the final act for no apparent
reason. As well, the supposedly secondary soprano role, the slave girl Liù, is far more developed
and appealing as a character. Liù loves her master’s son, the Prince Calaf of Tartary, who must
remain disguised, as his country has been conquered by Turandot’s father. Calaf is smitten by the
sight of Turandot, who is avoiding marriage by setting suitors the challenge of answering three
riddles. Failure means execution. This bloodthirsty behaviour provides the opera with a striking
opening, as a handsome young Prince of Persia is led to his death. The chorus shouts ‘Turn the
grindstone!’ to the executioner sharpening the blade.
6 7

GIUSEPPE VERDI
! Gloria all’Egitto (Triumphal March) from Aida 12’11
Words by Antonio Ghislanzoni 1824-1893
Egypt’s leader in 1869, Ismail Pasha, was fully aware of the international public relations value of
culture. He asked the world-famous Italian composer, Verdi, to write a piece for the opening of
the Suez Canal; when that was refused, he commissioned a work for the new opera house in
Cairo. Time was short, and so it was the earlier Rigoletto which opened the house. But in 1871
Cairo saw the premiere of its very own Egyptian-themed opera, Aida, which has remained one of
the most popular in the repertoire. As so often in Verdi, the political themes – war between Egypt
and what he calls Ethiopia (really the ancient kingdom of Nubia) – are mirrored by a personal,
human drama. Aida is an enslaved Ethiopian who serves the Egyptian princess Amneris. Both
women love the Egyptian warrior Radames. Aida is torn between her personal love for him and
her love and duty to her country. When Radames is off fighting her father, the Ethiopian king, she
dreads the outcome. At the end of Act II, Amneris cruelly tricks Aida into thinking Radames is
dead; this heightens the emotional drama of his subsequent triumphant return. These excerpts
from the Act II finale are taken from the march – led by Radames – of the victorious army and
their captives, with the Egyptian populace offering thanksgiving to the gods.
MODEST MUSSORGSKY 1839-1881
@ Coronation Scene from Boris Godunov 6’01
Words by Modest Mussorgsky, after Alexander Pushkin; English translation by Narelle French
Robert Harrington tenor solo
The setting of Mussorgsky’s great opera is Russia in the late 16th and early 17th centuries. Boris
Godunov was a real historical figure, who loomed large in what is known in Russian history as
‘The Time of Troubles’. This was a period of political instability following the death of Ivan the
Terrible which lasted until the rise of the Romanovs in 1613. Godunov is rich fodder for an opera
subject, as (like Shakespeare’s Richard III) history, truth and legend are difficult to clarify at this
distance. In the opera, the people are encouraged (or coerced) to acclaim Boris as the rightful
Tsar. He accepts their greeting in the marvellous Coronation Scene: a dramatic and colourful
extravaganza which the impresario Diaghilev felt really required a minimum of 300 people on
stage to do it justice! The orchestra mimics the bells of Moscow as a great procession makes its
way to the Cathedral for Boris’ coronation. Afterwards, the people cheer him back to the royal
apartments with shouts of ‘Glory! Glory!’
K.P. Kemp
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The Opera Queensland Chorus in Puccini’s Turandot (director: Graeme Murphy), 2008
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Chorus of gypsies:
1 Vedi! le fosche notturne spoglie Look! Heaven is casting off from its immense vault
De’ cieli sveste l’immensa volta;
the dark, empty shadows of night,
Sembra una vedova che alfin si toglie
like a widow who at last takes off
I bruni panni ond’era involta.
the dark cloth in which she has been shrouded.
All’opra, all’opra! Dagli! Martella!
To work! To work! Here, give me the hammer!
Chi del gitano i giorni abbella?
Who is it who brightens the gypsy’s day?
La zingarella.
The gypsy lass.
Versami un tratto: lena e coraggio,
Pour me a drink: body and soul
il corpo e l’anima traggon dal bere.
draw strength and courage from drinking.
Oh guarda del sole un raggio
Oh look: a ray of sunlight
brilla piú vivido nel tuo bicchiere!
shines more brightly in a glass!
All’opra, all’opra!...
To work! To work!...
Chorus of Hebrew slaves:
2 Va’, pensiero, sull’ali dorate; Fly, my thoughts, on golden wings;
Va’, ti posa sui clivi, sui colli,
go, settle on the slopes and hills
Ove olezzano tepide e molli
where the sweet air of our native land,
L’aure dolci del suolo natal!
soft and mild, is fragrant with perfume!
Del Giordano le rive saluta,
Greet the banks of the Jordan
Di Sionne le torri atterrate...
and the fallen towers of Zion…
Oh mia patria sì bella e perduta!
O my country, so lovely and lost!
Oh membranza sì cara e fatal!
Ah, memories so precious and so grim!
Arpa d’or dei fatidici vati,
Golden harp of the prophetic seers,
Perché muta dal salice pendi?
why do you hang silent from the willow tree?
Le memorie nel petto raccendi,
Rekindle the memories in our breast,
Ci favella del tempo che fu!
tell us tales of time gone by!
O simile di Sòlima ai fati
Sound a lament
Traggi un suono di crudo lamento,
as cruel as the fate of Jerusalem,
O t’ispiri il Signore un concento
or else may the Lord inspire you to harmonies
Che ne infonda al patire virtù.
that will fill us with the strength to endure.
Chorus of villagers:
3 Regina coeli laetare. Alleluja! Rejoice, Queen of Heaven, alleluia
Quia quem meruisti portare, Alleluja!
for he whom you were worthy to bear, alleluia
Resurrexit sicut dixit. Alleluja!
is risen, as he said, alleluia.
10
Inneggiamo, il Signor non è morto,
Ei fulgente ha dischiuso l’avel,
Inneggiam al Signore risorto
Oggi asceso alla gloria del Ciel!
Sing praises, the Lord is not dead,
shining, he has opened the tomb.
Sing praises to the risen Lord,
who today has risen to the glory of Heaven!
Chorus of prisoners:
4 O welche Lust! in freier Luft, What joy to breathe easily
Den Athem leicht zu heben,
in free air,
O welche Lust!
what a joy it is!
Nur hier, nur hier ist Leben!
This, this alone is living!
Der Kerker eine Gruft.
The prison cell is a grave.
A prisoner:
Wir wollen mit Vertrauen
Auf Gottes Hülfe bauen.
Die Hoffnung flüstert sanft mir zu,
Wir werden frei, wir finden Ruh.
Chorus of prisoners:
O Himmel! Rettung! Welch ein Glück!
O Freiheit, kehrst du zurück?
Another prisoner:
Sprecht leise, haltet euch zurück!
Wir sind belauscht mit Ohr und Blick.
Chorus of prisoners:
O welche Lust! In freier Luft…
We place our trust
in God’s help.
Hope whispers softly to me:
We shall be free, we shall find peace.
O heaven! Release! Such happiness!
Is this freedom returning?
Speak softly, keep it to yourselves!
Eyes and ears are trained on us.
What joy to breathe easily…
Chorus of wedding guests:
6 Treulich geführt ziehet dahin, Faithfully guided, draw near:
Wo euch der Segen der Liebe bewahr’!
here may the blessing of love protect you!
Siegreicher Mut, Minnegewinn
Courage crowned with victory, love’s reward:
Eint euch in Treue zum seligsten Paar.
be united in fidelity, the most blessed of couples.
Streiter der Tugend, schreite voran!
Champion of virtue, step forth!
Zierde der Jugend, schreite voran!
Jewel of youth, step forth!
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Rauschen des Festes seid nun entronnen,
Wonne des Herzens sei euch gewonnen!
Duftender Raum, zur Liebe geschmückt,
Nehm’ euch nun auf, dem Glanze entrückt.
Treulich geführt ziehet nun ein,
Wo euch der Segen der Liebe bewahr’!
Siegreicher Mut, Minne so rein
Eint euch in Treue zum seligsten Paar.
Wie Gott euch selig weihte,
Zu Freuden weihn euch wir.
In Liebesglücks Geleite
Denkt lang der Stunde hier!
Treulich bewacht bleibet zurück,
Wo euch der Segen der Liebe bewahr’!
Siegreicher Mut, Minne und Glück
Eint euch in Treue zum seligsten Paar.
Streiter der Tugend, bleibe daheim!
Zierde der Jugend, bleibe daheim!
Rauschen des Festes seid nun entronnen,
Wonne des Herzens sei euch gewonnen!
Duftender Raum, zur Liebe geschmückt,
Nahm euch nun auf, dem Glanze entrückt.
Treulich bewacht bleibet zurück…
12
Slip away now from the bustle of the celebrations:
may the delights of the heart be yours!
May this perfumed chamber, adorned for love,
now take you in, far from the splendour.
Faithfully guided, now enter in
to where the blessing of love shall protect you!
Courage crowned with victory, love so pure
unites you in fidelity, the most blessed of couples.
As God has blessed you in happiness,
so do we bless you and wish you joy.
With love’s happiness as your companion,
may you long remember this hour!
Faithfully guarded, remain here
where the blessing of love may protect you!
Courage crowned with victory, love and happiness:
be united in fidelity, the most blessed of couples.
Champion of virtue, remain here!
Jewel of youth, remain here!
Slip away now from the bustle of the celebrations,
may the delights of the heart be yours!
This perfumed chamber, adorned for love,
has taken you in, far from the splendour.
Faithfully guarded, remain here…
Chorus of villagers:
7 Andiam! Let’s go!
Din don, suona vespero,
Ding, dong, the bells are ringing for vespers,
Ragazze e garzon, din don!
lads and lasses, ding, dong!
A coppie al tempio ci affrettiam!
let’s hurry to church, two by two!
Din don, diggià i culmini
Ding, dong, already the sun
Il sol vuol baciar.
is reaching out to kiss the chimney tops.
Le mamme ci adocchiano,
Our mothers are watching us,
Attenti, compar!
so look out, friends!
Din don, tutto irradiasi
Ding, dong, everything is radiant
Di luce e d’amor!
Ma i vecchi sorvegliano
Gli arditi amador!
Din don, suona vespero…
with light and love!
But the old folks are keeping an eye
on the passionate lovers!
Ding, dong, the bells are ringing for vespers…
Chorus of Scottish refugees:
8 Patria oppressa! il dolce nome Oppressed homeland! No, you cannot be given
No, di madre aver non puoi,
the sweet name of ‘mother’,
Or che tutta a figli tuoi
now that you have been converted utterly
Sei conversa in un avel.
into a tomb for your sons.
D’orfanelli e di piangenti
From orphans and mourners,
Chi lo sposo e chi la prole
spouse and child,
Al venir del nuovo Sole
at the rising of the new sun
S’alza un grido e fere il Ciel.
a cry is raised that strikes at Heaven.
A quel grido il Ciel risponde
To that cry Heaven responds
Quasi voglia impietosito
almost as if, moved to pity, it wished
Propagar per l’infinito,
to spread your suffering across the infinity of space,
Patria oppressa, il tuo dolor.
O my oppressed homeland!
Suona a morto ognor la squilla,
The death knell tolls on
Ma nessuno audace è tanto
but no-one is bold enough
Che pur doni un vano pianto
to shed one vain tear
A chi soffre ed a chi muor.
for those who suffer and those who die.
Chorus of priests:
9 O Isis und Osiris, welche Wonne! O Isis and Osiris, what joy! The sun’s radiance
Die düstre Nacht verscheucht der Glanz der Sonne. is chasing away the gloomy night.
Bald fühlt der edle Jüngling neues Leben;
The noble youth will soon feel new life;
Bald ist er unserm Dienste ganz gegeben.
soon he will be given over wholly to our service.
Sein Geist ist kühn, sein Herz ist rein,
His spirit is bold, his heart is pure,
Bald wird er unser würdig sein.
soon he will be worthy of us.
Chorus of executioners and onlookers:
0 Gira la cote, gira, gira! Turn the grindstone, turn, turn!
Ungi, arrota, che la lama
Oil it, grind the blade
Guizzi, sprizzi fuoco e sangue.
till it flashes, spurting fire and blood.
Il lavoro mai non langue,
There’s never any shortage of work
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Dove regna Turandot.
Dolci amanti, avanti, avanti!
Cogli uncini e coi coltelli
Noi siam pronti a ricamar le vostre pelli!
Chi quel gong percuoterà
Apparire la vedrà,
Bianca al pari della giada,
Fredda come quella spada
È la bella Turandot!
Quando rangola il gong gongola il boia;
Vano è l’amore se non c’è fortuna.
Gli enigmi sono tre, la morte è una!
Morte! Morte! Ah, ah!
where Turandot reigns.
Out you come, gentle lovers!
With hooks and knives
we’re ready to embroider your skin!
The person who strikes the gong
will see her appear,
white as jade,
cold as that blade:
the beautiful Turandot!
When the gong booms out, the executioner rejoices.
Love is useless if fortune is against you.
Three riddles, but one death!
Death! Death! Ah! Ah!
@
Vieni, o guerriero vindice,
Vieni a gioir con noi;
Sul passo degli eroi
I lauri, i fior versiam!
Grazie agli Dei rendete
Nel fortunato dì.
Gloria al guerrier, gloria!
Gloria all’Egitto, gloria!
Prince Shuiski:
Long life to you, Tsar Boris Fyeodorovich!
Chorus of Russian people:
Long live our Father, Tsar most glorious!
Come, avenging warrior,
come and rejoice with us;
let us spread laurel branches and flowers
on the heroes’ path!
Give thanks to the gods
on this blessed day.
Glory to the warrior! Glory!
Glory to Egypt! Glory!
Chorus of Egyptian people:
! Gloria all’Egitto, ad Iside Glory to Egypt, and to Isis
Che il sacro suol protegge!
who protects our sacred land!
Al Re che il Delta regge
Let us raise up festive hymns
Inni festosi alziam!
to the King who rules the Delta!
Gloria! Gloria al Re!
Glory! Glory to the King!
S’intrecci il loto al lauro
Sul crin dei vincitori!
Nembo gentil di fiori
Stenda sull’armi un vel.
Danziam, fanciulle egizie,
Le mistiche carole,
Come d’intorno al sole
Danzano gli astri in ciel!
Weave lotus and laurel
in garlands to crown the victors!
Shower the armies with flowers,
like a soft, gentle veil.
Daughters of Egypt, let us dance
the mystical circle dances,
as the stars in heaven
dance around the sun!
Prince Shuiski:
Praise him!
Chorus of Russian people:
As the sun shines in Heaven, radiant in glory,
Let us hail our Russian Tsar Boris Almighty, glory!
Long life and glory, Tsar, our guardian!
Raise your voice and be joyful! Praise!
Let us praise our Tsar Boris, give him praise!
Glory, and praise him for ever! Glory! Glory!
Della vittoria agl’arbitri
Supremi il guardo ergete;
Grazie agli Dei rendete
Nel fortunato dì.
Lift your eyes
to the powers who command victory;
give thanks to the gods
on this blessed day.
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15

Opera Queensland Chorus
The Opera Queensland Chorus is drawn from a rich pool of singers with diverse musical backgrounds,
from professional artists and music students through to those whose professional life is entirely
unconnected with music or opera. All its members share a common love of the operatic artform, and
through thorough technical training, musicianship and great enthusiasm, this ensemble has earned a
most enviable reputation both here in Australia and overseas.
Under the long-time direction of Chorus Master James Christiansen, until 2001, the Chorus has made
a substantial contribution to opera performances and choral music across a wide variety of musical
styles. In addition to mainstream and chamber repertoire, the Chorus has also featured in concerts
designed to ‘showcase’ its members as a vocal ensemble in their own right. The Coro Magnifico!
concerts of 1999 and 2001 were received with great acclaim by audiences.
The Chorus has also collaborated with The Queensland Orchestra in performances of significant choral
works such as Fauré’s Requiem (2000), Beethoven’s Choral Symphony (2001) and, under the direction
of Chorus Master, the late John Dingle (2002-06), Berlioz’s The Damnation of Faust (2002) and the
Verdi Requiem (2003).
In 2009, under its current Chorus Master, Richard Lewis (from September 2007), in association with
Narelle French and Jillianne Stoll, the Chorus performs in La traviata, Fidelio and Rigoletto.
Sopranos Dania Cornelius, Kay Ebenezer, Dominique Fegan, Karen Gaydon, Ruth Henning-Lincoln,
Kiandra Howarth, Dana Kingsford, Alicia Lee, Anita Parakh-Morgan, Heru Pinkasova, D’Arne Sleeman,
Christine Sneddon, Sarah Sullivan, Rosina Waugh
Mezzo-Sopranos Susan Chapman, Bernadette Debattista, Louise Dorsman, Tricia Elgar, Regan Flor,
Anne Fulton, Sue Gallagher, Georgia Hawes, Kaja Holzheimer, Irene Horne, Hayley Sugars, Kathryn
Turner, Carli Walker
Tenors Piri Broughton, Ryan Carlson, Chris Cobcroft, Robert Harrington, Scott Harrison, Chris Holden,
Mark Kroon, Matthew Parakas, Jack Parakh-Morgan, Martin Paroz, Michael Sanders, Dominic Walsh,
Bernard Wheaton
Basses Steven Beck, Matthew Broadbent, Brian Cleary, Daryl Collins, Bill Cronk, Paul Darveniza,
Sam Hartley, Michael Hibbard, Darian Johns, Steven Kickbusch, Rainer Klose, Malcolm Krautz,
Shelden Mathieson, Michael Strasser, Lionel Theunissen
The Queensland Orchestra
The Queensland Orchestra, under the guiding baton of Chief Conductor Johannes Fritzsch, is
renowned for its high quality, breathtaking performances of both classical and modern compositions
that engage audiences of all musical tastes, interests and ages.
As the largest performing arts company in Queensland, employing 88 full-time musicians, and the
state’s only professional symphony orchestra, The Queensland Orchestra plays a vital role in
Queensland’s cultural community, giving over 100 live performances across 47 weeks each year to
more than 100,000 people.
The Queensland Orchestra’s annual season attracts high-profile international and national artists and is
made up of seven contrasting concert series featuring everything from Beethoven to the Proms, plus a
number of special events supporting high calibre artists such as Ben Lee, José Carreras and Roberta Flack.
Each year, the Orchestra also undertakes a regional tour delivering a free community engagement
program, and conducts an extensive state-wide education program that connects with 30,000
students, from pre-school to university level.
The Orchestra also presents innovative corporate workshops engaging the business sector to think
outside of the box about leadership and team work.
In addition to its own program, The Queensland Orchestra performs for major arts festivals, direct
broadcasts and recordings, and supports state and national opera and ballet companies.
Johannes Fritzsch
Johannes Fritzsch is currently the Chief Conductor of The Queensland Orchestra and the Chief
Conductor and Artistic Director of Graz Philharmonic Orchestra and Graz Opera in Austria. He was
previously Chief Conductor of the Nuremberg State Opera.
Johannes Fritzsch was born in Meissen, Germany, and received his higher education at the Carl Maria
von Weber Music Academy in Dresden, majoring in conducting and piano. After a period in Rostock,
he accepted the position of Kapellmeister with the Dresden State Opera, Semperoper, where he
conducted more than 350 opera and ballet performances over a period of five years.
The German reunification enabled Johannes Fritzsch to accept engagements outside of Eastern
Europe; he has led many orchestras in Germany and internationally including the Berlin, Hamburg and
Düsseldorf Symphony Orchestras, Mannheim National Theatre Orchestra, Staatskapelle Schwerin,
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Staatskapelle Dresden, North German Philharmonic Orchestra Rostock, Halle State Orchestra,
Swedish and Norwegian Radio Orchestras, Danish Radio Symphony Orchestra, Strasbourg
Philharmonic Orchestra, Orchestre National de Montpellier, Orchestre National du Capitole de
Toulouse, Orchestra Victoria, and the Sydney, Tasmanian, Adelaide and West Australian
Symphony Orchestras.
Opera companies with which he has worked include the Dresden State Opera, Köln Opera, Deutsche
Oper Berlin, Komische Oper Berlin, Opéra Bastille in Paris, Graz Opera, Royal Opera Stockholm,
Malmö Opera and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni,
Carmen, Tosca, Rigoletto, Salome and Der Rosenkavalier).
Executive Producers Martin Buzacott,
Robert Patterson
Recording Producer, Engineer and Mastering
Virginia Read
Assistant Engineer Costa Zouliou
Language Coaches Tanja Binggeli, Nicole Dorigo
Vocal Adviser Jillianne Stoll
Editorial and Production Manager Hilary Shrubb
Publications Editor Natalie Shea
Booklet Design Imagecorp Pty Ltd
Photographer Rob Maccoll
For Opera Queensland
Chairman Martin Kriewaldt
Chief Executive / Artistic Director Chris J Mangin
Artistic Administrator Brad Jarrett
Head of Music Narelle French
Chorus Masters Richard Lewis, Jillianne Stoll
Italian Preparation Teresa Desmarchelier
www.operaqueensland.com.au
For The Queensland Orchestra
Chairman Greg Wanchap
Chief Executive Officer Patrick Pickett
Director of Artistic Planning Richard Wenn
www.thequeenslandorchestra.com.au
Recorded 11-14 February 2009 in the Australian
Broadcasting Corporation’s studios at
Ferry Rd, Brisbane.
Treulich geführt (Bridal Chorus) from Wagner’s
Lohengrin is published by Breitkopf and Härtel.
Gira la cote from Puccini’s Turandot is published by
Universal Music Publishers Ricordi SRL of Milan.
All other tracks are published by Kalmus.
ABC Classics thanks Sarah-Grace Williams, Andrei
Laptev, Stephen Phillips, Alexandra Alewood and
Katherine Kemp.
2009 Australian Broadcasting Corporation. 2009 Australian
Broadcasting Corporation. Distributed in Australia and New
Zealand by Universal Music Group, under exclusive licence.
Made in Australia. All rights of the owner of copyright reserved.
Any copying, renting, lending, diffusion, public performance or
broadcast of this record without the authority of the copyright
owner is prohibited.
The Opera Queensland Chorus in Verdi’s Nabucco (director: David Freeman), 2007
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