Opera Choruses Booklet - Buywell

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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