Christopher Purves bass - Chandos

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CHAN 3121 BOOK.qxd 12/9/06 4:19 pm Page 18 Tamino discovers that the magic flute can tame the wild animals of the forest. 13 12 6 – 8 Monostatos attempts again to Papageno follows his music but they just miss each other: Papageno and Pamina enter, pursued by Monostatos. Papageno plays his magic bells, enchanting Monostatos and avoiding capture. 14 Sarastro returns with his followers from hunting 15 and Pamina tells him the whole truth of what has happened to her. 16 Tamino is brought in by Sarastro’s men, and sees Pamina for the first time. Sarastro orders Monostatos to be punished for his actions, and invites Tamino and Papageno to prove themselves worthy by undergoing the trials of initiation into the community of Isis. COMPACT DISC TWO Act II 1 Sarastro explains to his fellow priests his purpose in introducing Tamino and Papageno into the mysteries of Isis. 2 His fellow initiates overcome their misgivings and take the blind-folded men into the vaults of the temple. 3 – 4 The first trial is to take place; they must remain silent in the darkness. 5 When the three Ladies attempt to distract them and win them back to the Queen’s cause, the men ignore them. 18 seduce Pamina and this time it is the Queen who intervenes to defend her. She gives her daughter a dagger, ordering her to kill Sarastro and recover the sign of the sun for her. Monostatos has overheard and now threatens to inform on her if she does not yield to him. When Sarastro appears, Pamina, distraught, tells him everything that has happened, but he assures her that he has no thought of revenge on her mother. 9 Tamino and Papageno begin a second trial of silence: the contemplation of mortality. Papageno cheats by chatting up an old lady who says she is his girl-friend. 10 The three Boys bring food and drink, and return the magic instruments to assist them. 11 At the sound of Tamino’s flute, Pamina appears and cannot understand why he rejects her in silence. She concludes that he no longer loves her. 12 Sarastro congratulates Tamino on his strength of will, but tells him that, after one last meeting, he may never see Pamina again. 13 – 14 The lovers greet each other joyfully but sadly part. 15 Papageno also meets the old woman again, and discovers that she is really Papagena, a perfect young wife for him; to his annoyance an initiate insists that he, like Tamino, should continue the trials alone. Clhristian Steiner 16 – 19 Pamina, now unconsolable, appearances in opera and concert. In much contemplates suicide. The Boys prevent her, demand on the international opera stage his however, and reunite her with Tamino, who roles include: Tom Rakewell for English has reached the final trial: the ordeals of fire National Opera; Belfiore and Libenskof and water. 20 Pamina is allowed to join him (Il viaggio a Reims) at Teatro Communale di and together they brave the dangers, guarded Bologna; Nemorino (L’elisir d’amore) at Oper by the music of the flute and strengthened by Frankfurt & ENO; Oreste (Ermione) and their love for one another. 21 They are both Menelaus (La belle Hélène) for the Santa Fe welcomed into the temple. Opera; Tamino (Die Zauberflöte) at the 22 – 23 It is Papageno’s turn to Salzburg Festival, La Monnaie, Leipzig Opera contemplate suicide. The Boys remind him of and Scottish Opera; Don Ramiro (La his magic bells, and as he plays, 24 Papagena Cenerentola) at Basel Opera; Candide for appears again and they are happily united. Chicago Lyric Opera; Arnalta (L’incoronazione 25 – 26 The Queen, Monostatos and the di Poppea) at San Francisco Opera; Edgardo three Ladies plan a final assault on Sarastro’s (Lucia di Lammermoor) for Welsh National temple. They are destroyed by the vision of a Opera; Aufidio (Lucio Silla) at the Salzburg family united in wisdom and selfless love. Festival and Oper Frankfurt; Don Narciso (Il turco in Italia) in Brussels, Paris and Geneva; A graduate of The L’Astrologue (Le Coq d’or) at the Châtelet, and Royal Northern in performances of Die Entführung aus dem College of Music Serail, The Italian Girl in Algiers and Le where he was a Peter Rossignol at New York’s Metropolitan Opera. Moores scholar, A committed concert artist Barry Banks has Barry Banks has sung Rossini’s Petite Messe solennelle with the established himself Royal Philhamonic Orchestra under Daniele as one of the finest Gatti, Fidelio with the City of Birmingham tenors of his Symphony Orchestra under Walter Weller, generation for his War Requiem with the Orchestre outstanding Philharmonique de Strasbourg under Jan 19
CHAN 3121 BOOK.qxd 12/9/06 4:19 pm Page 20 Latham-Koenig and also in Sao Paulo, Bruckner’s Requiem with the Scottish Chamber Orchestra under Sir Charles Mackerras, Rossini’s Armida at the Edinburgh Festival under Carlo Rizzi and a critically acclaimed performance Ermione at Carnegie Hall. For <strong>Chandos</strong>’ Opera in English series Barry Banks has recorded a disc of Great Operatic Arias, The Elixir of Love, Don Pasquale, Don Giovanni and The Thieving Magpie, and other recordings include La bohème under Kent Nagano, Un ballo in maschera under Carlo Rizzi, and Trial by Jury under Sir Charles Mackerras. Video releases include Billy Budd in the English National Opera production and Die Entführung aus dem Serail. Rebecca Evans was born in Pontrhydyfen in South Wales and studied at the Guildhall School of Music and Drama. She took part in Welsh National Opera’s Young Singers Sceheme, and received support from the Peter Moores 20 Foundation to study with Ronald Schneider in Vienna. She has established a major operatic career in America where she has sung Susanna (Le nozze di Figaro) for the Santa Fe Opera and at the Ravinia Festival; Adele (Die Fledermaus) for the Chicago Lyric Opera; Zerlina (Don Giovanni), Ann Trulove (The Rake’s Progress) and Adina (L’elisir d’amore) for San Francisco Opera; and both Susanna and Zerlina for the Metropolitan Opera, New York. In Europe, she is a regular guest at the Bayerische Staatsoper, Munich, where her roles have included Susanna, Sophie (Der Rosenkavalier), Zdenka (Arabella), Ilia (Idomeneo) and, most recently, Nanetta (Falstaff ) conducted by Zubin Mehta. Elsewhere she has sung Ilia for the Netherlands Opera and Opéra de Lausanne; the title role of The Cunning Little Vixen for Scottish Opera; Susanna, Ilia, Marzelline (Fidelio), Norina (Don Pasquale) and Hero (Beatrice and Benedict) for Welsh National Opera; Romilda (Xerxes) for English National Opera; and Zerlina, Nanetta and Johanna (Sweeney Todd ) at the Royal Opera House, Covent Garden. Her extensive concert experience includes appearances at the BBC Proms and Edinburgh International Festival. She has performed Bach’s Magnificat with the San Francisco Symphony Orchestra conducted by Michael Tilson Thomas; Brahms’ Requiem with the Boston Symphony Orchestra conducted by Jeffrey Tate at the Tanglewood Festival; Mahler’s Fourth Symphony on tour with the Sapporo Symphony Orchestra and Tadaaki Otaka, and Schumann’s Faust Szenen and Brahms’ Requiem at the Ravinia Festival. Her many recordings include Susanna (The Marriage of Figaro) Ilia (Idomeneo), and Marzelline (Fidelio) for <strong>Chandos</strong>’ Opera in English series, Nanetta (Falstaff ) with Sir John Eliot Gardiner, a series of Gilbert and Sullivan recordings with Sir Charles Mackerras, and a solo recording of Italian songs. Simon Keenlyside was born in London, and studied zoology at Cambridge and singing with John Cameron at the Royal Northern College of Music in Manchester, where he was a Peter Moores Scholar. 21 He made his operatic debut at the Hamburg State Opera as Count Almaviva (Le nozze di Figaro). He has since sung in Geneva (Hamlet and Pelléas); San Francisco (Pelléas); Sydney (Figaro); Berlin (Figaro); Brussels (Orfeo); Paris (Papageno, Pelléas, Guglielmo, Yeletsky and Dandini); Vienna (Figaro, Marcello, Count Almaviva and Billy Budd); Munich (Marcello, Ford, Count Almaviva and Wolfram); at the Metropolitan Opera, New York (Belcore, Marcello and Papageno); at the Salzburg Festival (Guglielmo and Papageno); La Scala, Milan (Papageno and Count Almaviva under Muti); in Ferrara (Don Giovanni under Abbado); and at the Royal Opera House, Covent Garden (Billy Budd, Count Almaviva and Ford under Bernard Haitink, Don Giovanni under Sir Charles Mackerras, Valentin under Antonio Pappano, Belcore, Marcello, Guglielmo and Papageno under Sir Colin Davis, Hamlet under Louis Langrée and Prospero in the world premiere of The Tempest under Thomas Adès). Simon Keenlyside enjoys extensive concert work, appearing with, amongst others, the Chamber Orchestra of Europe, the Berlin Philharmonic, the City of Birmingham Symphony, the London Symphony Orchestra, the Cleveland Orchestra, the Vienna
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