At the Opera

AT THE OPERA Premieres, part 6 Prepared by Elaine Siversen With Simon Target Ponchielli, A. La Gioconda. Opera in four acts. Libretto by Arrigo Boito. First performed, Milan, 8 April 1876.    Ponchielli, A. La Gioconda, Prelude & Act I    [48:54] Ponchielli, A. La Gioconda, Act II    [36:40] Ponchielli, A. La Gioconda, Act III    [35:31] Ponchielli, A. La Gioconda, Act IV    [32:50]    LA GIOCONDA: Renata Tebaldi, sop LA CIECA: Oralia Dominguez, cont ALVISE: Nicolai Ghiuselev, bass LAURA: Marilyn Horne, mezz ENZO: Carlo Bergonzi, ten BARNABA: Robert Merrill, bar Saint Cecilia National Academy Ch & O/ Lamberto Gardelli.Total Time: 2:35:03 Decca 430 042-2    The street singer, known as La Gioconda, is in love with the exiled nobleman, Enzo, who has returned to Venice in disguise because of his love for Laura, wife of Alvise, a member of the Inquisition. La Gioconda rejects the amorous advances of the spy, Barnaba, who is jealous of Gioconda’s love for Enzo. In revenge, he falsely accuses La Gioconda’s mother, La Cieca, of being a witch but she is saved by Laura who puts her under her personal protection. Barnaba then tells Alvise of Enzo’s love for Laura. La Gioconda confronts Laura, her rival for Enzo’s love, but recognises her mother’s protector. Alvise orders Laura to take poison, but La Gioconda substitutes a sleeping potion and takes Laura’s body to her home, where Enzo is waiting. They escape as Barnaba arrives to claim La Gioconda, but she foils him by stabbing herself and dying. Puccini, G. Si, mi chiamano Mimi, from La bohème (1896).    Renata Tebaldi, sop; Carlo Bergonzi, ten; Renato Cesari, bar; Ettore Bastianini, bar; Cesare Siepi, bass; St Cecilia Academy O/Tullio Serafin. Decca 470 280-2 [10:15] 23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With James Nightingale Neher, P. City vignettes (2007).    Peter Sheridan, fl; Heather Price, db; Claire Cooper, pf. Move MD 3330 [14:46] Adams, J.L. Become ocean (2013).    Seattle SO/Ludovic Morlot. Cantaloupe CA21101 [42:14]

AT THE OPERA In exotic places, part 5 Prepared and presented by Ian MacDonald Massenet, J. Esclarmonde. Opera in four acts. Libretto by Alfred Blau and Louis de Gramont, after the medieval romance Parthenopoeus de Blois. First performed Paris, 15 May 1889.    Massenet, J. Esclarmonde, Prologue & Act I    [35:33] Massenet, J. Esclarmonde, Act II    [35:59] Massenet, J. Esclarmonde, Act III    [43:21] Massenet, J. Esclarmonde, Act IV & Epilogue    [40:48]    ESCLARMONDE: Joan Sutherland, sop PARSÉIS: Huguette Tourangeau, mezz EMPEROR PHORCAS: Clifford Grant, bass ROLAND, COUNT OF BLOIS: Giacomo Aragall, ten BISHOP OF BLOIS: Louis Quilico, bar CLÉOMER: Robert Lloyd, bass Finchley Children’s Music Group; National PO/Richard Bonynge.Total Time: 2:35:41 Decca 425 651-2    In medieval Byzantium, Emperor Phorcas is abdicating in favour of his daughter, the sorceress, Esclarmonde. To retain her powers, she must remain veiled to all men until fhe age of 20 when the winner of a tournament will be awarded her hand in marriage. Phorcas charges her sister, Parséis, to be her guardian. In love with the knight, Roland de Blois, she uses her magical powers to bring him to her. However, he must leave her to rescue his country where King Cleomar offers him his daughter in marriage. When Roland refuses, the Bishop of Blois determines to discover his secret. Roland is forced to reveal that a veiled woman comes to him each night. The Bishop warns him that he is bewitched and, when Esclarmonde comes to him, he tears the veil from her face. She is forced to give Roland up in order to retain her kingdom and magical powers. When the tournament for her marriage is held, Roland wins the hand of the veiled princess, who turns out to be Esclarmonde. Offenbach, J. Barcarolle, from The tales of Hoffmann (1881).    Joan Sutherland, sop; Huguette Tourangeau, mezz; Pro Arte of Lausanne and Du Brassus; Suisse Romande Choirs & O/Richard Bonynge. Decca 421 314-2 [04:08] Massenet, J. Meditation, from Thais (1894)    Anne-Sophie Mutter, violin; Lambert Orkis, piano DG 479 2949 [06:32] 23:00 MUSIC OF THE NIGHT Roland in the Middle Ages Prepared and presented by Dan Bickel Glazunov, A. Suite in E, from the Middle Ages, op 79 (1903).    Scottish NO/Neeme Järvi. Chandos CHAN 8804 [23:20] Vivaldi, A. Sol da te mio dolce amore, from Orlando Furioso, RV728 (1727).    Sesto Bruscantini, bar; I Solisti Veneti/Claudio Scimone. Erato 0630-13819-9 [07:36] Lully, J-B. Excerpts from Roland (1685).    Marie-Hélène Essade, sop; Delphine Gillot, sop; Salomé Haller, sop; Anders Dahlin, ct; Emiliano Gonzalez-Toro, ten; Yevgeny Alexiev, bass; Nicolas Testé, bass; Lausanne Opera Ch; Les Talens Lyriques/Christophe Rousset. Ambroisie AM 167 [24:35]

AT THE OPERA Love triumphs, Part 5 Prepared by Elaine Siversen With Camille Mercep Weber, C.M. Der Freischütz. Opera in three acts, J277. Libretto by Johan Friedrich Kind. First performed Berlin, 1821. TOTAL TIME 1'55'38    Weber, C.M. Der Freischütz, Overture & Act I    [36:45] Weber, C.M. Der Freischütz, Act II    [40:08] Weber, C.M. Der Freischütz, Act III    [38:41]    MAX: Andreas Schager, ten AGATHE: Lise Davidsen, sop KASPAR: Alan Held, bass-bar SAMIEL: Corrina Kirchoff, voice HERMIT: Franz Josef Selig, bass; Peter Simonischek, voice OTTOKAR: Markus Eiche, bar KUNO: Fritz Ollendorf, bass MDR Leipzig Radio Choir; Frankfurt RSO/Marek Janowski.Total Time: 1:55:38    Max, a forester, loves Agathe, and to succeed her father, Kuno, as head forester, a test of marksmanship skill is required. Max loses in the target practice. Kaspar persuades Max to cast seven magic bullets which will kill anything the shooter wants. Kaspar, whose soul is to be forfeited to the devil on the following day, hopes to substitute Max in his place. Max, fearing he will lose Agathe if he loses the contest, goes with Kaspar at midnight to the terrible Wolf's Glen to cast the magic bullets. Kaspar calls upon Samiel, the Black Huntsman. Samiel conjures up the shape of Agathe drowning herself, despairing at Max's lack of success, whereupon Max begins the casting of the bullets. Agathe dreams of ill omens. The hermit tells Agathe that her bridal wreath will protect her from danger. The bridesmaids arrive with the bridal wreath but when the box is opened, it is a funeral wreath. Max and Kaspar divide the bullets between them. Kaspar deliberately leaves the seventh bullet for Max. It is controlled by the Evil One. As Max fires at the target with the seventh bullet, Samiel guides the bullet so that it is aimed at Agathe. Her bridal wreath deflects the bullet which strikes Kaspar. Samiel grasps him instead of Max, whereupon Kaspar dies. Prince Ottokar, on learning about the magic bullets, pronounces the sentence of banishment on Max. The hermit pleads for Max saying that, if he lives a faultless life, he should gain forgiveness and be permitted to marry Agathe after one year. The Prince agrees. Wagner, R. Dich, teure Halle, from Tannhäuser (1845).    Lise Davidsen, sop; Philharmonia O/Esa-Pekka Salonen. Decca 483 4883 [03:41] Strauss, R. Excerpts from Lieder, op 27 (1894).    Lise Davidsen, sop; Philharmonia O/Esa-Pekka Salonen. Decca 483 4883 [04:36] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Busoni, F. Two studies for Doktor Faust, op 51 (1918-9).    Hong Kong PO/Samuel Wong. Naxos 8.555373 [18:58] Shostakovich, D. Quartet no 15 in E flat minor, op 144 (1974).    Emerson String Quartet. DG 463 284-2 [35:24] Kempff, W. Ein Totentanz, concerto in suite form, op 37 (1931).    Rüdiger Steinfatt, pf; Heinrich Schütz Ensemble; Munich SO/Werner Andreas Albert. Koch 3-1593-2 [30:10]

AT THE OPERA Myths, legends and fantasy, Part 6 Prepared and presented by Paul Roper Gluck, C. Iphigénie in Tauride. Tragedy in four acts. Libretto by Nicolas-François Guillard. First performed Paris, 18 May 1779.    IPHIGÉNIE: Mireille Delunsch, sop THOAS: Laurent Naouri, bar ORESTES: Simon Keenlyside, bass DIANA: Alexia Cousin, sop PYLADES: Jann Beuron, ten Les Musicians du Louvre Ch & O/Marc Minkowski. Archiv 471 133-2 [01:48:29]    Iphigenia is a priestess on Tauris after being rescued from death by the goddess Diana. Thoas, King of Tauris, feels his life is in danger and asks her to sacrifice two shipwrecked strangers, who are Orestes and Pylades. Iphiginea learns of the violent deaths of her mother and father and assumes that Orestes, her brother, also is dead. She prepares to ritually kill one of the strangers, but sees his similarity to her brother. An angry Thoas tries to sacrifice Orestes and Iphigenia but Pylades arrives and kills Thoas. Diana descends to promise the Greeks a safe journey home. Traetta, T. Dormi, Oreste, from Ifigenia in Tauride (1763).    Bejun Mehta, ct; RIAS CO; Acadamy for Early Music, Berlin/René Jacobs. Harmonia Mundi HMC 902172 [07:47] Gluck, C. Berenice, che fai ... Perché, se tanti siete, from Antigono (1756).    Cecilia Bartoli, mezz; Academy for Early Music, Berlin/Bernhard Forck. Decca 467 248-2 [08:40] Gluck, C. Se mai senti spirarti sui volto, from La clemenza di Tito (1752).    Sophie Bevan, sop; Classical Opera Company/Ian Page. Wigmore Hall WHLive0037 [10:27] 22:30 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Bortkiewicz, S. Four pieces, op 3 (1906).    Stephen Coombs, pf. Hyperion CDA67094 [19:28] Skoryk, M. Sonata no 2 (1991).    Solomiya Ivakhiv, vn; Steven Beck, pf. Naxos 8.579146 [14:58] Kapustin, N. Sonata no 15, op 127, Fantasia quasi sonata.    John Salmon, pf. Naxos 8.570532 [23:11] Silvestrov, V. Symphonic poem (1984).    Alexei Lubimov, pf; German SO/David Robertson. Sony SK 66825 [18:05] Tchesnokov, D. Sonatine, op 7 (2001).    Alina Pronina, pf. Brilliant Classics 96216 [06:33]

AT THE OPERA Premiere anniversaries, part 5 Prepared and presented by Camille Mercep Handel, G. Alessandro. Opera in three acts. Libretto by Paolo Rolli. First performed London, 5 May 1726.    Handel, G. IAlessandro, Act I    13923 [01:18:07] Handel, G. Alessandro, Act II    13923 [01:06:04] Handel, G. Alessandro, Act III    13923 [45:46] ALEXANDER: Max Emanuel Cencic, ct ROXANNA: Julia Lezhneva, sop LISAURA: Karina Gauvin, sop KING TAXILIS: Xavier Sabata, ct CLEON: Vasilly Khoroshev, ct LEONATUS: Juan Sancho, ten CLEITUS: In-Sung Sim, bar City of Athens Choir; Armonia Atenea/George Petrou.Total Time: 3:10:06 Decca 478 4699    After taking the Indian city of Oxidraca, Alexander the Great is courted by two beautiful women:, the Persian princess, Roxanna, and the Scythian princess, Lisaura. Meanwhile there is unrest among Alexander’s captains, caused by Alexander’s demand to be worshipped as a god. Cleon is happy to go along with Alexander’s wishes but Cleitus refuses to prostrate himself as it is not the Greek way. There is an attack on Alexander’s life through sabotage as the canopy above his throne collapses. Cleitus is imprisoned, while Cleon brings news of an uprising which Alexander goes to confront. Leonatus breaks Cleitus free from prison, locking up Cleon in his place and the two renegade captains plan to challenge Alexander directly. As all the protagonists come together, news of the failure of the uprising arrives. The leaders of the rebellion, Leonatus and Cleitus tremble in fear before Alexander. Instead of punishment, Alexander pardons them, before asking for the friendship of Lisaura and the hand of Roxana, leading to rejoicing by all. Handel, G. La Rejouissance (Rejoicing), from Music for the royal fireworks, HWV351 (1749).    Tasmanian SO; Graham Abbott, conductor. ABC 481 1143 [02:00] 23:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With James Nightingale Roussel, A. Suite from Padmâvatî (1914-18).    Royal Scottish NO/Stéphane Denève. Naxos 8.572243 [10:11] Cowen, F. Indian rhapsody (1903).    Czecho-Slovak State PO/Adrian Leaper. Marco Polo 8.223273 [15:50]

AT THE OPERA Opera oscura: love under cover Prepared and presented by Paul Roper Bologne, J., [Chevalier de St Georges] L'amant anonyme. Opera in two acts. Libretto by Desfontaines-Lavallée, after the Countess de Genlis. First performed Paris 1780.       LÉONTINE: Nicole Cabell, sop VALCOUR: Geoffrey Agpalo, ten OPHÉMON: David Govertsen, bass-bar JEANETTE: Erica Schuller, sop COLIN: Michael St. Peter, ten DOROTHÉE: Nathalie Colas, sop Haymarket Opera O, Chicago/Craig Trompeter. Cedille CDR 900000 217 [01:38:54]    Léontine has moved to a country chateau following the death of her husband. She is being pursued romantically, and surreptitiously, by her friend, Valcour, who calls himself The Anonymous One’. Valcour fears that his love will never be reciprocated, and Léontine’s tutor (and Valcour’s confidante), Ophémon, counsels him to drop the anonymity and declare his love, advising that it will be returned. Léontine receives a bouquet with an unsigned love letter. She asks Valcour to read the letter aloud. In it, the anonymous Valcour urges her to carry the flowers at the forthcoming wedding of peasant couple, Jeannette and Colin. Although declaring that ‘nothing can touch her heart’, Léontine’s curiosity is nonetheless enlivened. Valcour urges her to agree to The Anonymous One’s request. In order to gauge her reaction, Valcour then makes a pretence of confessing to Léontine that he is The Anonymous One. She collapses in surprise. Léontine is torn between wanting to unmask The Anonymous One and her deepening friendship for Valcour. Ophémon reports that he has seen ‘he Anonymous One and that he slightly resembles Valcour. Léontine wishes that Valcour could love her as intensely as The Anonymous One evidently does. Ophémon adds that The Anonymous One said he wanted to meet her and Léontine asks Ophémon to arrange a rendezvous. Waiting for The Anonymous One to appear, Léontine is met by Valcour. He declares his love for her and reveals that he is The Anonymous One. A double wedding ensues. Gossec, F-J. Chaconne, from Sabinus (1773).    Les Agrémens/Guy van Waas. Ricercar RIC 263 [06:27] 22:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With James Nightingale Sculthorpe, P. Quamby (2000).    Tasmanian SO/Richard Mills. ABC 481 1293 [21:20] Herz, H. Three characteristic nocturnes, op 45.    Philip Martin, pf. Hyperion CDA67606 [12:37] Messiaen,O. L'ascension (1933).    Australian Youth O/Christoph Eschenbach. ABC 426 476-2 [23:35] Rochberg, G. Slow fires of autumn, op 66 (1978-79).    Geoffrey Collins, fl; Alice Giles, hp. Tall Poppies TP031 [16:07] Stenhammar, W. Serenade in F, op 31 (1907-19).    Swedish RSO/Stig Westerberg. EMI CDM 5 65081 2 [35:37] Koechlin, C. Étude pour le charme du son dans un mouvement vif, op 188 no 5 (1942-44).    Feredico Mondelci, sax; Kathryn Stott, pf. Chandos CHAN 9803 [02:19]

AT THE OPERA In exotice places, Part 4: Celebrating Joan Sutherland Prepared by Elaine Siversen With Anne-Louise Luccarini Massenet, J. The King of Lahore. Opera in five acts. Libretto by Louis Gallet. First performed Paris, 1877.    Massenet, J. The King of Lahore, Overture & Act I    [45:21] Massenet, J. The King of Lahore, Act II    [31:35] Massenet, J. The King of Lahore, Act III    [23:18] Massenet, J. The King of Lahore, Act IV    [23:19] Massenet, J. The King of Lahore, Act V    [15:39]    SCINDIA: Sherrill Milnes, bar KING ALIM: Luis Lima, ten SITA: Joan Sutherland, sop TIMOUR: James Morris, bass INDRA: Nicolai Ghiaurov, bass London Voices; National PO/Richard Bonynge.Total Time: 2:26:19 Decca 433 851-2    Threatened by Muslim invaders, the citizens of Lahore pray at the temple of Indra for divine protection. Scindia, a minister of King Alim, is in love with Sita, a priestess at the temple. Scindia asks the High Priest, Timour, to release Sita from her vows and accuses her of sacrilege because she has been meeting a young man. The priests demand that she sing the evening prayer to lure the young man. A secret door opens and a young man appears: it is King Alim who confesses his love and asks for Sita's hand in marriage. Timour demands that the king make amends by leading his army against the Muslims. Scindia schemes to kill the king in an ambush. Sita follows the king to his encampment in the desert of Thôl resolving to declare her love when he returns from battle. The king’s forces are routed and the wounded King Alim returns and dies in Sita's arms. Scindia exults over Alim's body and declares himself king. He leaves for Lahore with Sita as his prisoner. Alim's soul arrives at Mount Meru, the Paradise of Indra. Indra takes pity on him and agrees to restore him to life, but as the humblest of beings. For as long as Sita lives, he will live, and they will die together. In the palace in Lahore, Sita laments her fate and prays for death. Alim awakens at the entrance to the royal palace where the crowd is gathering for Scindia's coronation. Scindia, on his way to persuade Sita to marry him, is blocked by a vengeful vision. Alim appears to the onlookers like a madman, and is ordered to be seized, but Timour says that he must be a visionary inspired by a god. Sita seeks refuge in Indra's sanctuary. Timour admits Alim to the sanctuary and the lovers meet again. Scindia threatens them both and Sita stabs herself. Alim becomes a spirit again. The temple walls change into a vision of paradise and Sita and Alim are united in celestial happiness, while Scindia falls to the ground in terror. Verdi, G. Madre, non dormi? from Il trovatore (1853).    Joan Sutherland, sop; Marilyn Horne, mezz; Luciano Pavarotti, ten; New York City Opera O/Richard Bonynge. Decca 478 2826 [17:40] 23:00 MUSIC OF THE NIGHT More Massenet Prepared and presented by Dan Bickel Massenet, J. Suite no 1, op 13 (1865).    Hong Kong PO/Kenneth Jean. Naxos 8.555986 [24:22] Massenet, J. Piano concerto in E flat (1903).    Stephen Coombs, pf; BBC Scottish SO/Jean-Yves Ossonce. Hyperion CDA66897 [31:04]

AT THE OPERA Love triumphs, Part 4 Prepared and presented by Camille Mercep Haydn, J. L’Isola disabitata, Hob.XXVIII:9. Opera in two acts, Libretto by Pietro Metastasio. First performed Esterháza, 1779.    Philips 473 851-2 [01:28:08] Haydn, J. L’Isola disabitata, Act I: Time : 0:39:48    Haydn, J. L’Isola disabitata, Act II: Time: 0:48:20       CONSTANZA: Norma Lerer, cont SILVIA: Linda Zoghby, sop GERNANDO: Luigi Alva, ten ENRICO: Renato Bruson, bar Lausanne CO/Antal Dorati.    Gernando, his wife Costanza and her sister Silvia, are sailing to the West Indies. A storm drives the ship onto an uninhabited island. Pirates kidnap Gernando and take him with them. Costanza, in particular, laments that they have been abandoned. After three years, Gernando gains his freedom and with the help of his friend, Enrico, searches for the island and the women. They find the place; Enrico sees Silvia and they are attracted to each other. Silvia reveals that Costanza too is still living, and she reunites with Gernando in the happy finale. Haydn, J. Overture to Il mondo della luna, Hob.XXVIII:7 (1777).    Tasmanian SO/Ola Rudner. ABC 472 447-2 [04:11] Haydn, J. Vado, vado; volo, volo, from Il mondo della luna.    Lucia Valentini Terrani, sop; Edith Mathis, sop; Frederica von Stade, mezz; Luigi Alva, ten; Domenico Trimarchi, bar; Lausanne CO/Antal Dorati. Philips 434 987-2 [05:44] Haydn, J. Siam femmine buonine, from L’ incontro improvviso, Hob.XXVIII:6 (1775).    Margaret Marshall, sop; Lausanne CO; Antal Dorati, conductor. Philips 434 987-2 [04:38] Haydn, J. Nocturne no 3 in C, Hob.II:32 (1792). Andante    Tasmanian SO; Ola Rudner, conductor. ABC 472 447-2 [02:03] 22:00 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Howard, L. You are not lost, you are here.    Orava Quartet. DG 485 9116 [03:56] Butterley, N. Lawrence Hargrave flying alone (1981).    Stephanie McCallum, pf. Tall Poppies TP037 [10:48] Sculthorpe, P. Great Sandy Island (1998).    Adelaide SO/James Judd. ABC 481 1293 [22:47] Strohl, R. Symphony of the forest (1903).    Île-de-France NO/Case Scaglione. La Boîte à Pépite BAP 10 [44:54] Still, W. A deserted plantation (1933).    Mark Boozer, pf. Naxos 8.559210 [12:23] Varèse, E. Déserts (1950-54).    Chicago SO/Pierre Boulez. DG 471 137-2 [17:11]

AT THE OPERA Myths, legends and fantasy, Part 4 Prepared and presented by Ian MacDonald Weber, C.M. Oberon. Opera in three acts, J306. Libretto by James Robinson Planché after the poem Oberon by C.M. Wieland based on a medieval romance, Huon de Bordeaux. First performed London, 1826.    Weber, C.M. Oberon, Act I.    [51:59] Weber, C.M. Oberon, Act II.    [44:04] Weber, C.M. Oberon, Act III.    [43:01]    OBERON: Donald Grobe, ten PUCK: Marga Schiml, sop REIZA: Birgit Nilsson, sop SIR HUON OF BORDEAUX: Plácido Domingo, ten SHERASMIN: Hermann Prey, bar Bavarian Radio Ch & SO/Rafael Kubelik. Total Time: 2:19:03 DG 419 038-2    The elf-king, Oberon, has quarrelled with Titania, queen of the fairies, and is determined not to return to her until he finds two truly faithful human lovers. Puck finds two such lovers in Reiza and Sir Huon of Bordeaux. Sir Huon, wth the help of a magic horn, and his squire, Sherasmin, captures Reiza, the Caliph of Baghdad’s daughter. Reiza and Huon fall in love but their love is tested by various trials including pirates, threatened slavery, shipwreck and the threat of execution. They are steadfast in their love. Oberon has found the faithful lovers and is reconciled with Titania. Weber, C.M. Wie nahte mir der Schlummer, from Der Freischütz, J277 (1821).    Birgit Nilsson, sop; Royal Opera House O/Edward Downes. Decca 467 912-2 [09:01] Mozart, W. Wie stark ist niche dein Zauberton, from The magic flute, K620 (1791).    Jean-Pierre Rampal, fl; Royal PO/Plácido Domingo, ten & dir. Sony 88875123122 [02:53] Mozart, W. Papagena! Papagena! Papagena!, from The magic flute, K620 (1791).    Hermann Prey, bar; Staatskapelle Dresden/Otmar Suitner. Berlin Classics 0149342BC [04:30] Liszt, F. Overture to Oberon, after Weber (1843).    Leslie Howard, pf. Hyperion CDS44541 [08:36] 23:00 MUSIC OF THE NIGHT More Weber Prepared and presented by Dan Bickel Weber, C.M. Variations, op 33 (1811).    Walter Boeykens, cl; Robert Groslot, pf. Harmonia Mundi HMC 901481 [14:16] Weber, C.M. Horn concertino in E minor, op 45 (1806/15).    Stephen Stirling, hn; City of London Sinfonia/Michael Collins. Chandos CHAN 10702 [15:39] Weber, C.M. Symphony no 1 in C (1807).    Queensland PO/John Georgiadis. Naxos 8.550928 [25:04]

AT THE OPERA Premiere anniversaries, Part 4 Prepared and presented by Camille Mercep Puccini, G. Turandot. Opera in three acts. Libretto by Giuseppe Adami and Renato Simoni. First performed Milan, 25 April 1926.Total Time : 2:01:33    Sony 88697448132 Puccini, G. Turandot, Act I    [33:39] Puccini, G. Turandot, Act II    [47:03] Puccini, G. Turandot, Act III    [40:53]    TURANDOT: Eva Marton, sop EMPEROR ALTOUM: Claes H. Ahnsjö, ten TIMUR: Jan-Hendrik Rootering, bass PRINCE CALAF: Ben Heppner, ten LIÙ: Margaret Price, sop Bavarian Radio Choir; Munich RO/Roberto Abbado.    Turandot, a beautiful Chinese princess, famed for her coldness, insists that nobles wanting to marry her must correctly answer three questions that she poses. If unsuccessful, they must die. Prince Calaf arrives incognito and recognises his old father, Timur, deposed king of the Tartars, and his servant, Liù, who loves Calaf. Calaf offers to answer the questions and, to Turandot’s dismay, answers correctly. She does not wish to marry Calaf but her father, Emperor Altoum, insists. Calaf offers to die if she can learn his name by dawn. Turandot orders her subjects to find it or be executed. Liù stabs herself rather than reveal it. Finally, Calaf reveals his name to Turandot who realises that it is 'love'. Puccini, G. Intermezzo, from Suor Angelica (1918).    BBC PO/Gianandrea Noseda. Chandos 10634 [03:36] Puccini, G. Vogliatemi bene, from Madama Butterfly (1904).    Mirella Freni, sop; Luciano Pavarotti, ten; Vienna PO/Herbert von Karajan. Decca 478 7583 [07:54] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Harrison, L. Double concerto with Javanese gamelan (1982).    Kenneth Goldsmith, vn; Terry King, vc; William Winant, gongs; Lou Harrison, gongs; Mills College Gamelan Ensemble. Music and Arts CD-635 [22:52] Riley, T. The wheel & mythic birds waltz (1983).    Gyan Riley, gui; Del Sol String Quartet. Sono Lumininus DSL- 92215 [15:59] Tavener, J. The protecting veil (1989).    Maria Kliegel, vc; Ulster O/Takuo Yuasa. Naxos 8.554388 [45:18]

AT THE OPERA In exotic places, Part 3 Prepared by Elaine Siversen With Simon Target Delibes, L. Lakmé. Opera in three acts. Libretto by Edmond Gondinet and Philippe Gille. First performed Paris, 1883.    Delibes, L. Lakmé, Act I    [54:55] Delibes, L. Lakmé, Act II    [58:18] Delibes, L. Lakmé, Act III    [35:53]    LAKMÉ: Joan Sutherland, sop NILAKANTHA: Clifford Grant, bass MALLIKA: Huguette Tourangeau, mezz GERALD: Henri Wilden, ten FREDERICK: John Pringle, bar HADJI: Graeme Ewer, ten Australian Opera Ch; Elizabethan Sydney O/Richard Bonynge.Total Time: 2:30:00 Opera Australia OPOZ56012CD    Lakmé, daughter of the priest, Nilakantha, gathers flowers with her slave Mallika. British officers, Gerald and Frederick, break into the temple precinct and admire Lakmé’s jewels. Gerald and Lakmé fall in love. Returning too late to catch Gerald, Nilakantha swears vengeance on the trespasser. At the bazaar, Nilakantha has Lakmé sing the Bell Song to lure her unknown lover. Discovering that it is Gerald, he plots his murder. Lakmé proposes to run away with Gerald, whose regiment is about to leave. Under cover of a religious procession, Gerald is stabbed. but not fatally. Lakmé’s slave, Hadji, carries him to her forest hiding-place. Frederick arrives to remind Gerald of his military duty. Thinking she has lost him, Lakmé eats a deadly datura leaf. The lovers make a pledge with sacred water, protecting Gerald from Nilakantha’s revenge, but Lakmé dies soon after. Verdi, G. Siam giunti ... D’amor sull’ali rosee ... Miserere d’un’alma già vicina, from Il trovatore (1853).    Joan Sutherland, sop; Robin Donald, ten; Kenneth Collins, ten; Australian Opera Ch; Elizabethan Sydney O/Richard Bonynge. ABC 472094-2 [14:48] 23:00 MUSIC OF THE NIGHT Night sounds Prepared by Elaine Siversen With Nena Beretin Boccherini, L. String quintet in C, op 30 no 6, Night music of the streets of Madrid (1780).    Members of Australian Haydn Ensemble/Skye McIntosh, vn & dir. Fine Music concert recording [09:41] Treloar, P. Night sounds at Ranthambhor (1988).    Ros Dunlop, cl, bass cl; pre-recorded sound by Phil Treloar. Fine Music concert recording [16:38] Szymanowski, K. Symphony no 3, op 27, Song of the night (1916).    Ryszard Minkiewicz, ten; Warsaw Philharmonic Ch & O/Antoni Wit. Naxos 8.579721 [26:10]

AT THE OPERA Love triumphs, Part 3 Prepared by Elaine Siversen With Jules Laurent Vivaldi, A. Bajazet, RV703. Opera in three acts. Libretto by Agostino Piovene. First perfomed Verona, 1735.    Vivaldi, A. Bajazet, Sinfonia and Act I    [01:06:52] Vivaldi, A. Bajazet, Act II    [57:46] Vivaldi, A. Bajazet, Act III    [41:21]    BAJAZET: Hadleigh Adams, bar TAMERLANO: Christopher Lowry, ct ANDRONICO: Russell Harcourt, ct ASTERIA: Emily Edmonds, mezz O of the Antipodes/Erin Helyard.Total Time: 2:45:59 Pinchgut Opera PG007    The Ottoman sultan, Bajazet, defeated by Tartar Emperor, Tamerlano, and held prisoner, determines to die. He asks Andronico to take care of his daughter, Asteria, whom Andronico loves. Tamerlano is also in love with her and, when he declares his love to Asteria, she believes Andronico has abandoned her and tells her father, Bajazet. He offers his own life for her freedom. Although she does not love him, Asteria accepts Tamerlano. Bajazet confronts her and they decide to commit suicide. Asteria decides instead to poison Tamerlano, but is caught. Bajazet suicides and Tamerlano, horrified, allows Asteria to marry Andronico. 23:00 MUSIC OF THE NIGHT Prepared and presented by Dan Bickel Handel, G. Overture to Tamerlano, HWV18 (1724).    Brandenburg Consort/Roy Goodman. Hyperion CDA66860 [04:37] Handel, G. Forte e lieto, from Tamerlano (1724).    Mark Padmore, ten; English Concert/Andrew Manze. Harmonia Mundi HMU 907422 [06:09] Handel, G. Oh, per me lieto, avventuroso, giorno, from Tamerlano (1724).    Robin Blaze, ct; Mark Padmore, ten; English Concert/Andrew Manze. Harmonia Mundi HMU 907422 [03:53] Handel, G. Figlia mia; Tu, spietato, from Tamerlano (1724).    Mark Padmore, ten; English Concert/Andrew Manze. Harmonia Mundi HMU 907422 [06:00] Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775).    Joshua Bell, vn; English CO/Peter Maag. Decca 436376-2 [31:42]

AT THE OPERA Mythis, legends and fantasy, Part 3 Prepared by Elaine Siversen With Simon Target Strauss, R. Ariadne auf Naxos. Opera in a prologue and one act. Libretto by Hugo von Hofmannsthal, after Molière’s Le bourgeois gentilhomme. First performed Vienna, 1916.    Strauss, R. Ariadne auf Naxos, Prologue    [40:01] Strauss, R. Ariadne auf Naxos, Act I    [01:21:50]    ZERBINETTA: Natalie Dessay, sop SCARAMOUCHE: Ian Thompson, ten HARLEQUIN: Stephan Genz, bar ARIADNE: Deborah Voigt, sop MAJOR-DOMO: Romuald Pekny, voice MUSIC MASTER: Albert Dohmen, bar DANCING MASTER Michael Howard, ten BACCHUS: Ben Heppner, ten Staatskapelle Dresden/Giuseppe Sinopoli.Total Time: 2:01:58 Brilliant Classics 9084/1    There is a splendid dinner at the home of the richest man in Vienna. Two groups of artists arrive to entertain. One is a troup of [commedia dell’arte] characters, led by Zerbinetta and including Scaramouche and Harlequin. The other is an opera company, performing a new classical opera about Ariadne’s abandonment on Naxos. The troupes argue about how they can cut their scenes so that the fireworks can begin at 9pm. The classical composer refuses to cut. Then the Major Domo announces that the entertainments will be performed simultaneously. The Music Master and the Dancing Master try to make the cuts but are hindered by the squabbling for supremacy by the Prima Donna playing Ariadne, and the Tenor playing her rescuer, Bacchus. The entertainments finally begin. Strauss, R. Das Rosenband, op 36 no 1 (1897).    Anne Sofie von Otter, mezz; Bengt Forsberg, pf. DG 437 515-2 [03:46] Glière, R. Concerto in F minor for coloratura soprano, op 82 (1943).    Natalie Dessay, sop; Berlin SO/Michael Schønwandt. EMI 5 56565 2 [14:15] Strauss, R. Ariadne auf Naxos. Opera in a prologue and one act. Libretto by Hugo von Hofmannsthal, after Moliere’s Le Bourgeois Gentilhomme. First performed Vienna, 4 October 1916.    ARIADNE: Deborah Voigt, sop ZERBINETTA: Natalie Dessay, sop COMPOSER: Anne Sofie von Otter, mezz BACCHUS: Ben Heppner, ten MAJOR-DOMO: Romuald Pekny, speaker MUSIC MASTER: Albert Dohmen, bar DANCING MASTER Michael Howard, ten LACKEY: Jürgen Commichau, bass OFFICER: Klaus Florian Vogt, ten THREE NYMPHS: Christiane Hossfeld, sop, Angela Liebold, contralto, Eva Kirchner, sop SCARAMOUCHE: Ian Thompson, ten HARLEQUIN: Stephan Genz, bar Staatskapelle Dresden; Giuseppe Sinopoli, conductor. Brilliant Classics 9084/1 [02:01:58] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Moore, K. Broken rosary (2010).    Anna McMichael, vn; Tamara-Anna Cislowska, pf. Tall Poppies TP228 [05:35] Takemitsu, T. From me flows what you call time.    Synergy; Sydney SO/Edo de Waart. ABC 454 516-2 [28:29] Lloyd, G. Symphony no 7, Proserpine (1957-59; orch. 1974).    BBC Northern SO/Edward Downes. Lyrita REAM.1135 [50:18]

AT THE OPERA Premiere anniversaries, Part 3 Prepared and presented by Camille Mercep Rossi, Lauro. Cleopatra. Melodramma in four acts. Libretto by Marco d’Arienza. First performed Turin, 5 March 1876 (rev. Bernardo Ticci).    Rossi, Lauro. Cleopatra, Act I    [26:14] Rossi, Lauro. Cleopatra, Act II    [21:42] Rossi, Lauro. Cleopatra, Act III    [28:35] Rossi, Lauro. Cleopatra, Act IV    [28:39]    CLEOPATRA: Dimitra Theodossiou, sop MARC ANTONY: Allessandro Liberatore, ten DIOMEDES: Sebastian Catana, bar CAESAR: Paolo Pecchioli, bass OCTAVIA: Tiziana Carraro, mezz Marchigiana Ch & PO/ David Crescenzi.Total Time: 1:45:10 Naxos 8.660291-92    Cleopatra has formed a liaison with Marc Antony causing her counsellor, Diomedes, to predict the downfall of Egypt. Antony has returned to Rome and Cleopatra learns that he is to marry Caesar’s sister, Octavia. Speeding to Rome, accompanied by Diomedes, Cleopatra confronts Antony after the wedding. Although he is still enamoured with Cleopatra, he rebuffs her. Antony returns to Egypt and he and Cleopatra go to battle against Caesar. After losing the battle, Antony blames Cleopatra who now seeks an alliance with Caesar and a rekindling of their former love affair. When the news of Antony’s suicide reaches them, Caesar blames Cleopatra for Antony’s death and for ruining his marriage. He demands that she go to Rome but Cleopatra, knowing that she will be enslaved, calls for an asp and dies from its poison. 22:00 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Bonis, M. Le rêve de Cléopâtre; Ophélie; Salomé (c1909).    Toulouse Capitole NO/Leo Hussain. Palazzetto Bru Zane BZ 2006 [16:35] Eötvös, M. Sonata no 2, A story from the sand dunes (2021).    Alex Raineri, pf. ABC ABCL 0093D [29:57] Brouwer, M. Rhapsody, concerto (2009/21).    ORF Vienna RSO/Marin Alsop. Naxos 8.559933 [14:14] Saariaho, K. Lichtbogen (1985-86).    Members of NEM/Lorraine Villacourt. Ummus UMM 102 [14:37] Wilcox, F. Gouttes d'un sang étranger: Fragments I to IV (2014).    Jason Noble, cl; Daniel Yeadon, va da gamba. Move MD 3456 [08:01] Chin, U. Cello concerto (2009/13).    Alban Gerhardt, vc. DG 481 0971 [28:07]

AT THE OPERA In exotic places, Part 2 Prepared and presented by Camille Mercep Vivaldi, A. Motezuma. Opera in three acts. Libretto by Luigi Giusti. First performed Venice, 1733.    Vivaldi, A. Motezuma, Act I    [01:11:04] Vivaldi, A. Motezuma, Act II    [01:03:43] Vivaldi, A. Motezuma, Act III    [54:09]    FERNANDO: Maite Beaumont, mezz MOTEZUMA: Vito Priante, bar TEUTILE: Roberta Invernizzi, sop RAMIRO: Romina Basso, mezz MITRENA: Marijana Mijanović, cont ASPRANO: Inga Kalna, sop Il Complesso Barocco/Alan Curtis.Total Time: 3:14:53 Archiv 477 5996    Following a devastating defeat at the hands of the Spanish conquistador, Fernando Cortes, the Mexican ruler, Motezuma, is resolved to resist the Spanish invaders. To complicate matters his daughter, Teutile, is in love with Ramiro, Fernando’s brother. Motezuma’s wife, Mitrena, calls on the gods to protect Mexico against the Spanish tyrant and urges her fellow countrymen to rise up in revolt. The Mexican general, Asprano, reaffirms their willingness to fight. He announces that the oracle of the gods demands that Teutile and a Spaniard be sacrificed in order to restore peace to the country. Fernando Cortes is the Spaniard who must be sacrificed with Teutile. She gives orders for the tower in which Fernando is imprisoned to be set alight. Ramiro and his soldiers free Fernando from the tower and, when Motezuma discovers the door open and that the guards have been killed, he goes into the tower. Ramiro bolts the door behind him and leaves. Asprano sets the building on fire, when to his horror, he sees his emperor high up in the tower. In her despair, Mitrena resolves to take her own life but, suddenly, Motezuma appears, having escaped from the tower by means of a secret passage. Fernando Cortes is celebrating his victory and tells the Mexicans that they now have a new emperor and new gods. He has won the throne, not for himself but for Spain, and announces his intention of returning to Spain. He will leave his brother, Ramiro, behind as a hostage after Ramiro and Teutile are married, declaring that this is what the oracle has demanded. Motezuma and Mitrena agree to the marriage and the people celebrate the lovers' union. 23:30 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Angulo, G. Sonata no 2.    Anton Baranov, gui. Naxos 8.573306 [11:02] Ponce, M. Chapultepec (1929/34).    State of Mexico SO/Enrique Bátiz. ASV DCA 926 [14:42]

AT THE OPERA Love triumphs, Part 2 Prepared and presented by Ian MacDonald Rossini, G. The barber of Seville. Opera in two acts. Libretto by Cesare Sterbini, after Beaumarchais' Le Barbier de Séville. First performed Rome, 1816.    Rossini, G. The barber of Seville, Act I    [01:32:17] Rossini, G. The barber of Seville, Act II    [46:02]    COUNT ALMAVIVA: Luigi Alva, ten ROSINA: Teresa Berganza, mezz DOCTOR BARTOLO: Enzo Dara, bar FIGARO: Hermann Prey, bar Ambrosian Opera Ch; London SO/Claudio Abbado.Total Time: 2:18:19 DG 415 695-2    Count Almaviva, disguised as a servant Lindoro, serenades his love Rosina, the ward of Dr Bartolo, who plans to marry her for her dowry. His barber, Figaro, suggests that he get into Bartolo’s house by disguising himself as a soldier. He fails in this attempt but returns as assistant to Basilio, the singing-master. He shows Bartolo a letter supposedly to Almaviva from a mistress, which Bartolo thinks will inflame Rosina’s jealousy. She is upset but Almaviva reveals his true identity and his constancy and, with Figaro’s help, they elope before Bartolo discovers that he has been tricked. Rossini, G. Introduction; Aria; Duet, from Stabat Mater (1842).    Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of Londond Sinfonia/Richard Hickox. Chandos CHAN 8780 [21:10] Rossini, G. Comic duet for two cats (1816).    Elisabeth Söderström, sop; Kerstin Meyer, mezz; Jan Eyron, pf. BIS CD-17 [03:42] Rossini, G. La regata Veneziana (c.1850)    Rossini, G. BIS CD-17 [04:19] 23:00 MUSIC OF THE NIGHT Staying in Seville Prepared and presented by Dan Bickel Albéniz, I. Sevilla, from Suite española, op 47 (1886; arr. Barrueco).    Andrew Blanch, gui. www.andrewblanch.com AB 2015 [05:43] Turina, J. Women of Seville, op 89 (1935).    Jordi Masó, pf. Naxos 8.557684 [12:56] Turina, J. Canto a Sevilla, op 37 (1927).    Maria Espanada, sop; BBC PO/Juanjo Mena. Chandos CHAN 10819 [37:19]

AT THE OPERA Myths, legends and fantasy, Part 2 Prepared by Elaine Siversen With Jules Laurent Handel, G. Alcina, HWV34. Opera in three acts. Anonymous libretto after Ludovico Ariosto’s epic poem Orlando Furioso used by Riccardo Broschi for his 1728 opera L’isola di Alcina. First performed London, 1735.    Handel, G. Alcina, Overture & Act I    [49:43] Handel, G. Alcina, Act II    [59:33] Handel, G. Alcina, Act III    [42:40]    BRADAMANTE: Norma Procter, cont MELISSO: Thomas Hemsley, bar ALCINA: Joan Sutherland, sop RUGGIERO: Fritz Wunderlich, ten MORGANA: Jeannette van Dijck, sop ORONTE: Nicola Monti, ten Cologne Radio Choir; Cappella Coloniensis/Ferdinand Leitner.Total Time: 2:31:56 DG 477 8017    Bradamante, disguised as her brother, Ricciardo, with her tutor, Melisso, have been shipwrecked and cast ashore on Alcina’s enchanted island. Bradamante is searching for her betrothed, Ruggiero. They meet Morgana, Alcina's sister, who falls in love with the disguised Bradamante. She takes them to Alcina where Ruggiero is present. Later Bradamante confronts him. He recognises her as Ricciardo but denies any interest in Ricciardo's sister because he is the faithful lover of Alcina. Oronte, Alcina's commander-in-chief, who loves Morgana, is jealous of ‘Ricciardo’ and decides to make Ruggiero jealous too. He concocts a tale that Alcina now loves ‘Ricciardo’ and will no doubt soon add Ruggiero to her collection of discarded lovers now transformes into monsters. Alcina assures Ruggiero that her feelings are unchanged. Melisso, disguised as Ruggiero's tutor, Atlante, gives him a magic ring which brings him to his senses. Ruggiero wishes to send a message of defiance to Alcina, but Melisso advises him to pretend that he still loves her and to make his escape. When Alcina is told that Ruggiero is planning to flee, she begins to make spells to bind Ruggiero to her but cannot overcome her feelings for him. Other travellers have been shipwrecked and have been changed into wild beasts, trees or stones by Alcina. Melisso tells Bradamante that the island is surrrounded by Alcina's enchanted monsters and advises Ruggiero to take the Gorgonian shield and the winged horse to help him conquer them. Alcina’s forces are defeated and Ruggiero smashes the urn that holds Alcina's secret power. All her spells are broken and the rocks, trees and beasts resume their human shapes. They rejoice at their liberty and all celebrate the triumph of love. Handel, G. Da tempeste il legno infranto, from Giulio Cesare, HWV17 (1724).    Joan Sutherland, sop; Hubert Dawkes, hpd; New SO of London/Richard Bonynge. Decca 482 4759 [05:23] Handel, G. Let the bright seraphim, from Samson, HWV57 (1743).    Joan Sutherland, sop; Harry Dilley, tpt; Royal Opera House O, Covent Garden/Francesco Molinari Pradelli. Decca 482 4759 [05:52] 23:00 MUSIC OF THE NIGHT More Handel ... Prepared and presented by Dan Bickel Handel, G. Love in Bath (arr. Beecham).    Royal PO/Thomas Beecham. EMI CDM 7 63374 2 [47:32] Handel, G. Oboe concerto in G minor (1705).    Bart Schneeman, ob; Musica Amphion/Pieter-Jan Belder. Channel Classics CCS SA 29209 [08:36]

AT THE OPERA Premiere Anniversaries, Part 2 Prepared and presented by Camille Mercep Schuster, J. Demoföonte. Opera in three acts. Libretto by Pietro Metastasio. First performed Forli, summer of 1776.    Schuster, J. Demoföonte, Act I    [01:06:03] Schuster, J. Demoföonte, Act II    [46:42] Schuster, J. Demoföonte, Act III    [26:22]    DEMOFÖONTE:: Andreas Post, ten MATUSIO: Jan Kobow, ten DIRCEA: Dorothee Mields, sop TIMANTE: Jörg Waschinski, ct CREUSA: Marie Melnitzki, sop CHERINTO: Werner Buchin, ct La Ciaccona/Ludger Rémy.Total Time: 2:19:07 Harmonia Mundi 98282 2    Demophon, King of Thrace, asks the oracle how long the custom of the annual sacrifice of a virgin is to continue. The reply is that it must occur every year that an ‘innocent usurper’ sits on the throne. Demophon’s minister, Matusio, does not know that his daughter, Dircea, has secretly married the king’s elder son, Timante, and borne him a child. Equally ignorant of this, the king decrees that Dircea will be sacrificed. Demophon has chosen a foreign princess, Creusa, as the bride for Timante. She is on her way to Thrace accompanied by Timante’s younger brother, Cherinto, who falls in love with Creusa. When they arrive in Thrace, Timante tells Creusa that he can’t marry her but gives no reason. Enraged, Creusa urges Cherinto to kill Timante in revenge. Dircea is seized by guards and taken to the place of sacrifice. Timante and his followers attempt to liberate Dircea but Timante is taken prisoner. He confesses that he has married Dircea and that they have a son. Cherinto tells Timante that Creusa has persuaded Demophon to grant him and Dircea a pardon. Timante renounces his claim to the throne in favour of Cherinto, thus enabling him to marry Creusa. However, Matusio reveals that Dircea is Demophon’s daughter, thereby invalidating her marriage to Timante. A distraught Timante renounces his wife and son before a document is produced that declares that his father is not Demophon but Matusio. Hence Timante and Dircea were free to marry and Cherinto is the legitimate heir to the kingdom (and free to marry Creusa). As Timante is no longer the ‘innocent usurper’, the sacrificial tradition can also cease. Mozart, W. Biancheggia, from Il sogno di Scipione, K126 (1772).    Christiane Karg, sop; Arcangelo/Jonathan Cohen. Berlin Classics 0300389BC [07:14] Haydn, J. Overture to L’isola disabitata, Hob.Ia:13 (1779).    Haydn Sinfonietta, Vienna/Manfred Huss. Schwann 3-1484-2 [07:15] Mozart, W. L'amerò, sarò costante, from Il re pastore, K208 (1775).    Yvonne Kenny, sop; Australian CO/Richard Tognetti. Sony SK 66282 [06:30] 23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Joubert, J. Sinfonietta, op 38 (1962).    Paul Arden-Taylor, ob; Anna Evans, ob; Keith Rubach, bn; Christine Predota, bn; Stephen Roberts, hn; James Buck, hn; English String O/William Boughton. Naxos 8.571368 [17:38] Pépin, C. Les eaux célestes (2023).    BBC SO/Jader Bignamini. BBC Music Magazine BBCMM511 [09:04] Sandström, J. En Herrgårdssägen (1987-2004).    Iceland SO/Christian Lindberg. BIS CD-1748 [27:03]

AT THE OPERA In exotic places, Part 1 Prepared by Elaine Siversen With Jules Laurent Mozart, W. The abduction from the Seraglio, K384. Opera in three acts. Libretto by Gottlieb Stephanie, after Christoph Bretzner's Belmont und Constanze oder die Entführung aus dem Serail. First performed Vienna, 1782.    Mozart, W. The abduction from the Seraglio, Overture & Act I    [38:14] Mozart, W. The abduction from the Seraglio, Act II    [52:57] Mozart, W. The abduction from the Seraglio, Act III    [31:43]    KONSTANZE: Cheryl Studer, sop BLONDE: Elzbieta Szmytka, sop SELIM: Michael Heltau, voice BELMONTE: Kurt Streit, ten PEDRILLO: Robert Gambill, ten OSMIN: Gunther Missenhardt, bass Vienna State Opera Ch & O/Bruno Weil.Total Time: 02:03:19 Sony S2K 48053    Konstanze and her maid, Blonde, are captives in Pasha Selim's harem in Turkey. Selim wants Konstanze for himself, but she remains faithful to Belmonte who hopes to rescue her. Belmonte and his servant, Pedrillo, gain employment as an architect and a gardener in Selim's service. Pedrillo, who loves Blonde, is jealous and scents danger. After making Selim’s overseer, Osmin, drunk, Belmonte and Pedrillo rescue the women using rope ladders. The alarm is raised and all four are captured and brought before the Pasha. They are expecting the worst but Selim is feeling magnanimous and, having given up all hope of ever winning Konstanze's love, he relinquishes her to his rival who is found to be the son of his most hated enemy. A very dejected Osmin has to watch his adored Blonde depart with the gardener. The four lovers leave the Seraglio behind and turn their happy faces homeward.. Rossini, G. Bel raggio lusinghier; Dolce pensiero; La forza primiera, from Semiramide (1823).    Cheryl Studer, sop; Samuel Ramey, bass; London SO/Ion Marin. DG 437 813-2 [10:00] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Holst, G. Oriental suite, Beni Mora (1909-10).    Royal Scottish NO/David Lloyd-Jones. Naxos 8.553696 [17:20] Ravel, M. Sonata (1927).    Patricia Kopatchinskaja, vn; Fazil Say, pf. naïve V5146 [18:17] Bax, A. The garden of Fand (1913-16).    Ulster O/Bryden Thomson. Chandos CHAN 8307 [18:44] Sibelius, J. String quartet no 4 in D minor, op 56, Intimate voices (1909).    Flinders Quartet. ABC 481 1982 [29:39]

AT THE OPERA Love triumphs, Part 1 Prepared and presented by Camille Mercep Thomas, A. Mignon. Opera in three acts. Libretto by Michel Carré and Jules Barbier. First performed Paris, 1866.    Thomas, A. Mignon, Act I    [01:15:37] Thomas, A. Mignon, Act II    [01:04:17] Thomas, A. Mignon, Act III    [39:08]    LOTHARIO: Nicola Zaccaria, bass MIGNON: Marilyn Horne, mezz JARNO: Claude Méloni, bass WILHELM MEISTER: Alain Vanzo, ten PHILINE: Ruth Welting, sop ANTONIO: Paul Hudson, bass Ambrosian Opera Ch; Philharmonia O/Antonio de Almeida.Total Time: 2:59:02 Sony SM3K 34590    An elderly and half-mad minstrel, Lothario, has stopped for a rest at an inn. Gypsies arrive to entertain the crowd but, when one of them, Mignon, refuses to dance, she is attacked by Jarno. She is saved from a beating by a student, Wilhelm Meister. Mignon tells him how she was abducted as a child and Wilhelm decides to buy her freedom from the gypsies, encouraging the gypsies to leave. She falls in love with him but becomes jealous when she sees Wilhelm paying attention to the actress, Philine. Philine’s acting troupe is invited to perform in a baron’s castle and Wilhelm accompanies them with Mignon, who has agreed to act as his page. Lothario also travels with the troupe and overhears Mignon wishing that the castle would burn down. After the performance, he sets fire to the conservatory not knowing that Mignon is inside. Wilhelm rushes in to save Mignon who has been overcome by the smoke. Wilhelm takes Lothario and Mignon to a castle in Italy. Antonio, an old man in the castle, relates how the castle’s previous owner had gone mad after his wife had died from grief over the loss of their young daughter. Mignon awakens and tells Wilhelm of her love for this strangely familiar place and he realises that he loves her. It soon becomes clear that this is the castle from which Mignon was kidnapped and that Lothario, who has also recovered his wits in the familiar surroundings, is her father. Thomas, A. A vos jeux, mes amis, from Hamlet (1869).    Joan Sutherland, sop; Adelaide SO/Richard Bonynge. ABC 481 1873 [09:03] 23:30 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Grigoryan, L. After dark (2014).    Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 481 7031 [05:35] Ligeti, G. String quartet no 1, Métamorphoses nocturnes (1953-54).    Hagen Quartet. DG 474 327-2 [20:12]

AT THE OPERA Myths, legends and fantasy, Part 1 Prepared and presented by Ian MacDonald Offenbach, J. The tales of Hoffmann. Opera in three acts with prologue and epilogue. Libretto by Jules Barbier and Michel Carré, after stories by E.T.A. Hoffmann. First performed Paris, 1881.    Offenbach, J. The tales of Hoffmann, Prologue    [24:50] Offenbach, J. The tales of Hoffmann, Act I    [36:42] Offenbach, J. The tales of Hoffmann, Act II    [26:46] Offenbach, J. The tales of Hoffmann, Act III    [40:09] Offenbach, J. The tales of Hoffmann, Epilogue    [13:57]    NICKLAUSSE/THE MUSE: Huguette Tourangeau, mezz HOFFMANN: Plácido Domingo, ten STELLA, OLYMPIA, GIULIETTA, ANTONIA: Joan Sutherland, sop LINDORF, COPPELIUS, DAPERTUTTO, DR MIRACLE: Gabriel Bacquier, bar Radio Suisse Romande Ch; Choir of Pro Arte Lausanne; Chorale du Brassus; Suisse Romande O/Richard Bonynge.Total Time: 2:22:11 Decca 417 363-2    Drinking in a tavern with Nicklausse, the poet Hoffmann receives a letter from his love, Stella, a prima donna. His enemy, Lindorf, asks him to tell the story of his three love affairs. First, Hoffmann loves Olympia, a mechanical doll. He believes she is real until she is broken by Coppelius. Then he loves Antonia, forbidden to sing at the risk of death. Urged on by the evil Dr Miracle, she sings for Hoffmann and dies in his arms. Finally, he loves Giulietta, a Venetian courtesan. When he kills her lover in a duel, Giulietta leaves with Dapertutto. The three women in these stories are really just different aspects of Stella so, when she finally appears, she finds that Hoffmann is drunk and she leaves him for Lindorf. Nicklausse, who has witnessed these affairs, becomes his muse and urges him to use his suffering to write great literature. Meyerbeer, G. O beau pays de la Touraine, from The Huguenots (1836).    Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli. Decca 414 450-2 [05:40] Gounod, C. O Dieu, que de bijoux ... Ah! je ris de me voir, from Faust (1859); Je veux vivre, from Romeo and Juliet (1867).    Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli. Decca 414 450-2 [08:08] Offenbach, J. Barcarolle, from The Tales of Hoffmann    Geoffrey Saba, piano CarnegieConcerts CC012 [07:47] 23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Rangström, T. Notturno nella maniera di E.T.A. Hoffmann.    Uppsala Chamber Soloists. LCM C 115 [12:44] Osborne, N. Albanian nights.    Lisa Beznosiuk, fl; Neil McLaren, fl; Paul Goodwin, ob; Catherine Latham, ob; Nicholas Bucknall, cl; Timothy Lines, cl; Andrew Watts, bn; Frances Eustace, bn; Roger Montgomery, hn; Robert Maskell, hn; Antony Pay, cond. EMI CDC 7 54424 2 [10:23] Suchon, E. Metamorphosis (1953).    Slovak PO/Zdenék Kosler. Marco Polo 8.223130 [31:54]

AT THE OPERA Premiere anniversaries, Part 1 Prepared and presented by Camille Mercep Lully, J-B. Atys. Opera in five acts. Libretto by Philippe Quinault. First performed Versailles January 1676.    Lully, J-B. Atys, Prologue    [18:24] Lully, J-B. Atys, Act I    [41:56] Lully, J-B. Atys, Act II    [33:48] Lully, J-B. Atys, Act III    [26:34] Lully, J-B. Atys, Act IV    [24:27] Lully, J-B. Atys, Act V    [30:10]    ATYS: Guy de Mey, ten CYBÈLE: Guillemette Laurens, mezz SANGARIDE: Agnès Mellon, sop CÉLÉNUS: Jean François Gardeil, bar Les Arts Florissants/William Christie.Total Time: 2:50:34 Harmonia Mundi HMX 2908250.79    The prologue praises Louis XIV as a hero after his victory over the Netherlands. The opera begins with the shepherd, Atys, singing to encourage the Phrygians to welcome the goddess, Cybèle. Atys declares his love for the nymph, Sangaride, who also loves him, but she is betrothed to Célénus, King of the Phrygians. Cybèle, who loves Atys, selects him as high priest. With his new authority, Atys cancels the marriage of Sangaride and Célénus. Cybèle and Célénus plot revenge. Cybèle casts a spell on Atys and induces him to kill Sangaride. Coming to his senses, Atys tries to kill himself but is turned into a pine tree by Cybèle. Having avenged herself, Cybèle is left lamenting. Lully, J-B. Excerpts from L’Amour médecin, comédie-ballet (1665).    Isabelle Poulenard, sop; Agnès Mellon, sop; Bernard Delétré, bass; Les Musiciens du Louvre/Marc Minkowski. Erato 245 286-2 [10:34] Lully, J-B. Excerpts from Acis et Galatée, Act I (1674).    Monique Simon, sop; Françoise Masset, mezz; Thierry Félix, bar; Les Musiciens du Louvre/Marc Minkowski. Archiv 453 497-2 [08:28] 23:30 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Haquinius, A. Nocturne (c1900).    Semmy Stahlhammer, vn; Love Derwinger, pf. nosag 4049 [02:16] Norgård, P. Violin concerto: Light night (1986-87).    Christina Astrand, vn; Danish National RSO/Thomas Dausgaard. Chandos CHAN 9830 [23:46]

AT THE OPERA Favourites, Part 13 Prepared by Elaine Siversen With Jules Laurent Mozart, W. The marriage of Figaro, K492. Opera in four acts. Libretto by Lorenzo da Ponte, after Beaumarchais. First performed Vienna, 1786.    Mozart, W. The marriage of Figaro, Act I    [45:20] Mozart, W. The marriage of Figaro, Act II    [47:54] Mozart, W. The marriage of Figaro, Act III    [41:36] Mozart, W. The marriage of Figaro, Act IV    [42:55]    FIGARO: Teddy Tahu Rhodes, bass-bar SUSANNA: Taryn Feibig, sop COUNT ALMAVIVA: Peter Coleman-Wright, bar CHERUBINO: Sian Pendry, mezz COUNTESS ALMAVIVA: Rachelle Durkin, sop BARBARINA: Claire Lyon, singer/actress MARCELLINA: Jacqueline Dark, mezz Opera Australia Ch; Australian Opera and Ballet O/Patrick Summers.Total Time: 2:57:46 Opera Australia OPOZ56003CD    Figaro and Susanna, servants of Count Almaviva, are to be married but Susanna suspects the Count wants to seduce her. Cherubino, a page, tells Susanna he loves women, especially the Countess. When the Count arrives to proposition Susanna, Cherubino hides, but is found by the Count. The Count punishes Cherubino by sending him to his regiment, but the Countess and Susanna disguise him as a girl so he can stay with his girlfriend Barbarina. When they hear the Count arrive, Cherubino hides in a closet. The Count, suspicious of his wife, determines to open the door, but Susanna manages to change places with Cherubino. Marcellina, a housekeeper, alleges that Figaro borrowed money from her on a promise of marriage but is found to be to be Figaro's mother. Eventually, the Count sees the problems of his flirtations and Figaro and Susanna are married at last. Mozart, W. Madamina, il catalogo è questo; Deh, vieni alla finestra, from Don Giovanni, K527 (1787).    Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Ola Rudner. ABC 472 826-2 [08:19] Massenet, J. Thaïs, c’est toi, from Thaïs (1894).    Cheryl Barker, sop; Peter Coleman-Wright, bar; Tasmanian SO/Martin André. ABC 465 699-2 [05:11] 23:30 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Pelēcis, G. Concertino bianco (1990).    Tamara-Anna Cislowska, pf; Tasmanian SO/Johannes Fritzsch. ABC 481 6295 [15:27] Yoshimatsu, T. White landscapes, op 47a (1991/97).    Manchester Camerata/Sachio Fujioka. Chandos CHAN 9652 [09:33]

AT THE OPERA Favourites, Part 12 Prepared by Elaine Siversen With Ian MacDonald Verdi, G. Falstaff. Opera in three acts. Libretto by Arrigo Boito, after Shakespeare. First performed Milan, 1893.    Verdi, G. Falstaff, Act I    [29:56] Verdi, G. Falstaff, Act II    [41:57] Verdi, G. Falstaff, Act III    [43:23]    SIR JOHN FALSTAFF: Geraint Evans, bar MISTRESS ALICE FORD: Ilva Ligabue, sop MISTRESS MEG PAGE: Rosalind Elias, mezz NANETTE: Mirella Freni, sop MISTRESS QUICKLY: Giulietta Simionato, mezz BARDOLPH: Piero de Palma, ten PISTOL: Giovanni Foiani, bass MR. FORD: Robert Merrill, bar DR. CAJUS: John Lanigan, ten FENTON: Alfredo Kraus, ten RCA Italiana Opera Ch & O/Georg Solti.Total Time: 1:55:13 Decca 478 3705    Sir John Falstaff plans to acquire money by wooing two wealthy matrons, Alice Ford and Meg Page. He sends identical love letters to them. They, Alice’s daughter, Nanette, and their friend, Mistress Quickly, decide to punish Falstaff by arranging a rendezvous between Alice and Falstaff. Bardolph and Pistol tell Mr. Ford of Falstaff's plan and he believes his wife is unfaithful. When Falstaff attempts to woo Alice, Mistress Quickly announces Meg's arrival. Falstaff hides behind a screen. When Ford arrives to search the house, the women hide Falstaff in a hamper of dirty laundry which they throw out of the window. Another meeting is arranged between Alice and Falstaff at midnight in Windsor Park. He is to dress as the antlered Black Hunter. The other women will dress as spirits. Mistress Quickly overhears Ford promise to wed his daughter Nanette to Dr. Caius that night and that she will be dressed as the Fairy Queen. However, Nanette loves Fenton. Falstaff meets Alice in the moonlit park. The spirits rush in and torment Falstaff and he begs for mercy. When the joke is over, he says it was well deserved. Ford then announces that he will marry Dr. Cajus to the Fairy Queen and a second couple asks to be married. After the weddings, he learns that Bardolph has changed into the Fairy Queen’s costume and the second couple was Fenton and Nanette. Knowing that he was not the only one tricked, Falstaff proclaims it a good jest and everyone shares a hearty laugh. Bizet, G. In the depths of the temple, from The pearl fishers (1863).    Jussi Björling, ten; Robert Merrill, bar; RCA Victor SO/Renato Cellini. RCA GD 87799 [04:34] Rossini, G. Selva opaca, from William Tell (1829).    Mirella Freni, sop; National PO/Riccardo Chailly. Decca 440 844-2 [09:02] Puccini, G. Che gelida manina, from La bohème (1896).    Alfredo Kraus, ten; National PO/James Levine. EMI CDC 7 49929 2 [04:59] Puccini, G. Quando m'en vo'soletta (Musetta.s Waltz song), from La bohème (1896)La boheeeeee    Amelia Farrugia, sop., BBC SO; Alexander Briger, conductor Decca 987 5237 [02:31] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With James Nightingale Korngold, E. Excerpts from The Snowman (1908; orch. 1910 Zemlinsky).    Peter Manning, vn; BBC PO/Matthias Bamert. Chandos CHAN 9631 [23:20] Messiaen, O. Regard de la Vierge; Le baiser de l'Enfant Jésus; Regard de l'esprit de joie, from Vingt regards sur l’Enfant-Jésus (1944).    Angela Hewitt, pf. Hyperion CDA67054 [27:59] Penderecki, K. Symphony no 2, Christmas (1980).    Polish Sinfonia Iuventus O/Krzysztof Penderecki. Dux 0897-0901 [33:25]

AT THE OPERA Anniversaries, Part 12 Prepared and presented by Camille Mercep Tchaikovsky, P. Iolanthe. Opera in one act. Libretto by Modest Tchaikovsky. First performed St Petersburg, 18 December1892.    Tchaikovsky, P. Iolanthe, Part 1    [41:10] Tchaikovsky, P. Iolanthe, Part 2    [46:23]    KING RENÉ: Yevgeny Nestorenko, bass IOLANTHE: Tamara Sorokina, sop ROBERT: Yuri Mazurok, bar EARL VODEMONT: Vladimir Atlantov, ten Bolshoi Theatre Ch & O/Mark Ermler.Total Time: 1:27:33 LP Melodiya C10-08343-6    King René’s daughter, Iolanthe, is unaware that she is blind as all around her are sworn to secrecy and no stranger is allowed into the castle. She normally lives a happy life but recently has been disturbed by a vague inexplicable desire, is sad and cries often. A famous doctor is called who says that he can cure her but Iolanthe needs to be told of her blindness and to have the desire to have sight but the king forbids it. Two knights, Robert and Vodemont, enter the castle garden, having lost thteir way. Robert was betrothed to Iolanthe when they were children but he is seeking the king to have the bethrothal dissolved as he loves another. Vodemont comes upon the sleeping Iolanthe and is infatuated with her beauty. She wakes and his excitement evokes a response in her. As Vodemont is saying goodbye to her, he asks her to pick a red rose for him but when she offers him a white rose, he realises that she is blind. He tells her how beautiful the light is and Iolanthe listens in ecstasy. They fall in love. The king becomes angry that the secret has been revealed but the doctor says it is now possible to cure Iolanthe. She regains her sight and everyone glorifies the light as the source of life and knowledge. Tchaikovsky, P. Waltz of the flowers, from The nutcracker, op 71 (1892).    Royal PO/Vladimir Ashkenazy. RPO RPO 8021 [07:37] Rachmaninov, S. Vocalise, op 34 no 14 (1912).    Olga Peretyatko, sop; Ural PO/Dmitry Liss.. Sony 88985352232 [06:09] Stokowski, L. Traditional Slavic Christmas music (1933).    Bournemouth SO/José Serebrier. Naxos 8.557645 [03:18] 22:00 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Stravinsky, I. Ballet: Le baiser de la fée (1928/50).    Cleveland O/Oliver Knussen. DG 479 4650 [43:37] Prokofiev, S. Sonata in C, op 119 (1949).    Zoe Knighton, vc; Amir Farid, pf. Move MD 3390 [27:40] Gubaidulina, S. Duo sonata (1977).    Claude Delangle, sax; Damien Royannais, sax. BIS CD-765 [11:13] Norgård, P. Symphony no 6, At the end of the day (1999).    Oslo PO/John Storgards. Dacapo 6.220645 [31:15]

AT THE OPERA A re-discovered opera Prepared by Elaine Siversen With Jules Laurent Zemlinsky, A. Görge the dreamer. Opera in two acts and epilogue. Libretto by Leo Feld after a fairytale by Richard von Volkmann and a poem by Heinrich Heine. Composed 1904-06; first performed Nuremberg, 1980.    Zemlinsky, A. Görge the dreamer, Act I    [57:23] Zemlinsky, A. Görge the dreamer, Act II    [01:02:13] Zemlinsky, A. Görge the dreamer, Epilogue    [27:51]    GRETE: Iride Martinez, sop GÖRGE: David Kuebler, ten HANS: Andreas Schmidt, bar PRINCESS: Susan Anthony, sop GERTRAUD: Patricia Racette, sop KASPER: Michael Volle, bar Cologne School of Music Opera Ch; Gürzenich O/James Conlon. Total Time: 2:27:27 EMI 5 57087 2    Görge is to inherit the village mill. The miller, wanting to maintain control of the mill, has arranged a marriage between his daughter, Grete, and Görge. Görge's obsession with books and fairy-tales makes Grete uncomfortable and, when her former sweetheart, Hans, returns from military service, she is overjoyed. Görge recounts that a beautiful princess came to him in a dream which greatly amuses Grete and Hans. While Görge is sitting on the bank of a stream, the Dream-Princess appears, inviting him to join her in a magical world of beauty and make-believe. After the dream, Görge remembers he is to be married that afternoon but decides he must pursue his dream. He flees the village just as the wedding guests begin to arrive. Three years later, Görge is living in a different village with another woman, Gertraud. Some of the villagers suspect that Gertraud is a witch or in league with the devil. Görge himself is destitute and in a wretched state. Despite this, the villagers, led by Caspar, ask Görge to organise a peasant revolt against the landowners. They believe that Görge, the most articulate member of their community, should be their leader. Görge declines when told that he must first forsake Gertraud. Marei, who is attracted to Görge, swears revenge. Gertraud, deciding she is a burden to Görge, prepares to leave. Görge finally realises that he loves her and asks her to be his wife. Marei leads the villagers in setting their house on fire. Görge emerges with Gertraud and, berating the mob, leads her to safety and they leave the village. They return to Görge’s former village where he has inherited the mill. In the meantime, Grete and Hans have married. Görge establishes a school and Gertraud cares for the poor and needy. The villagers now welcome them and express their gratitude. Görge realises that his dream has been fulfilled in the idyllic life he now shares with his loving wife, Gertraud. Zemlinsky, A. Six songs to poems by Maurice Maeterlinck, op 13 (1913).    Violeta Urmana, mezz; Gürzenich O/James Conlon. EMI 5 86079 2 [21:16] 23:00 MUSIC OF THE NIGHT With Borodin Prepared and presented by Dan Bickel Borodin, A. Petite suite (1885).    Vladimir Sofronitzky, pf. Brilliant Classics 9241 [18:22] Borodin, A. Symphony no 1 in E flat (1862-67).    Czecho-Slovak RSO/Stephen Gunzenhauser. Naxos 8.550238 [32:58]

AT THE OPERA The 19th century opera, Part 12 Prepared and presented by Ian MacDonald Donizetti, G. The daughter of the regiment. Opera in two acts. Libretto by Jules-Henri Vernoy de St Georges and Jean-François Bayard. First performed Paris, 1840.    Donizetti, G. The daughter of the regiment, Act I    [01:07:00] Donizetti, G. The daughter of the regiment, Act II    [40:00]    MARIE: Joan Sutherland, sop TONIO: Luciano Pavarotti, ten THE MARQUISE: Monica Sinclar, mezz Royal Opera House Ch & O/Richard Bonynge. Decca 478 1366 [01:47:00]    Marie, found abandoned and reared by the 21st Regiment, has developed tomboyish manners. She loves Tonio, a young Tyrolean, who joins the regiment in order to marry her. The Marquise, shocked by her rough ways, claims to be her aunt and whisks her away to be groomed as a lady. However, Marie finds her life stifling and longs for her ‘family’, the regiment, who arrive to rescue her. The Marquise organises a grand marriage which Marie resists. When the Marquise admits she is Marie’s mother, the girl feels she must obey. Seeing the misery of Marie and Tonio, the Marquise relents and blesses their union. Donizetti, G. Chi mi frena in tal memento? from Lucia di Lammermoor (1835).    Joan Sutherland, soprano; Huguette Torangeau, mezzo; Luciano Pavarotti & Ryland Davies, tenors; Sherrill Milnes, baritone,; Nicolai Ghiaurov, bass; Royal Opera House Ch & O; Richard Bonynge, cond. Decca 478 7583 [03:41] 22:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With James Nightingale Agnew, R. Sonata symphonique.    Larry Sitsky, pf. Canberra SM CSM:19 [11:25] Martin, F. Passacaglia (1944).    London PO/Matthias Bamert. Chandos CHAN 9312 [12:27] Henze, H. Fantasia for strings (1966).    Collegium Musicum Zürich/Paul Sacher. DG 479 1522 [15:43] Whettam, G. Sonata: Night music (1968).    Anthony Goldstone, pf. Divine Art 25038 [24:49] Edwards, R. Tyalgum mantras (1999).    Four Winds Philharmonia/Christopher Latham. Four Winds 001 [14:00] Jarrell, M. ... un temps de silence ... (2007).    Emmanuel Pahud, fl; Radio France PO/Pascal Rophé. EMI 5 01226 2 [18:55] Richter, M. Dream 8 (late and soon), from Sleep (2013-15).    Grace Davidson, sop; Max Richter, pf, org, synthesisers, elec; American Contemporary Music Ensemble. DG 479 5258 [11:53]

AT THE OPERA Favourites, Part 11 Prepared and presented by Camille Mercep Rossini, G. The Italian girl in Algiers. Opera in two acts. Libretto by Angelo Anelli. First performed Venice, 1813.    Rossini, G. The Italian girl in Algiers, Act I    [01:11:30] Rossini, G. The Italian girl in Algiers, Act II    [01:09:21]    ELVIRA: Kathleen Battle, sop MUSTAFÀ: Samuel Ramey, bass LINDORO: Ernesto Palacio, ten HALY: Nicola Zaccaria, bass ISABELLA: Marilyn Horne, mezz TADDEO: Domenico Trimarchi, bar Prague Philharmonic Choir; I Solisti Veneti/Claudio Scimone.Total Time: 2:20:51 Erato 2564 68335-9    Elvira mourns the loss of the love of her husband, Mustafa. Mustafa, the ruler of Algeria, plans to marry her to Lindoro, his Italian slave. He orders his henchman, Haly, to find him an Italian wife. An Italian ship is ship-wrecked on the coast and, on board, is Lindoro’s fiancée, Isabella, who has come to look for him. She and her travelling companion, Taddeo, are found by Haly and brought to Mustafa, who is delighted to have an Italian beauty to marry. Isabella immediately recognises Lindoro and upsets Mustafa’s plans by insisting that Lindoro should become her personal servant. Left alone, they plan to escape but are foiled when Mustafa arrives. Lindoro tells Mustafa that the reason that Isabella is delaying marrying him is because he does not belong to the noble order of the Papataci, but that he and Taddeo can initiate him. During the preparations for the ceremony, the guards are given too much to drink and the lovers escape. On realising that he has been tricked, Mustafa begs Elvira’s forgiveness. No more Italian girls for him! Rossini, G. Gran Dio! Deh, tu proteggi il mio prode campion ... Giusto Dio che umile adora, from Tancredi (1813).    Aleksandra Kurzak, sop; Warsaw Chamber Choir; Sinfonia Varsovia/Pier Giorgio Morandi. Decca 478 3553 [08:23] Rossini, G. Notturno à due voci: La regata veneziana; La pesca, from Soirées musicales (1830-35).    Renata Scotto, sop; Bianca Casoni, cont; Giuseppe Nait, ten; Teodoro Rovetta, bass; Antonio Beltrami, pf. LP EMI 1C 065 99868 [08:32] Rossini, G. La danza. Tarantella napoletana Gia la luna è in mezzo al mare, from Les soirées musicales (1830-35; arr. Sadin).    Rolando Villazón, ten; Maggio Musicale Fiorentino O/Marco Armiliato. DG 479 4959 [03:13] 23:00 MUSIC OF THE NIGHT To northern Africa Prepared and presented by Dan Bickel Ibert, J. Escales (1922).    Christopher Bowman, ob; Suisse Romande O/Neeme Järvi. Chandos CHSA 5168 [15:03] Prokofiev, S. Suite from Egyptian nights, op 61 (1938).    Leningrad Philharmonic SO/Gennady Rozhdestvensky. LP Melodiya C10-10453-4 [20:03] Saint-Saëns, C. Suite algérienne, op 60 (1880).    Swiss-Italian O/Francis Travis. Chandos CHAN 9837 [19:46]

AT THE OPERA Anniversaries, Part 11 Prepared and presented by Paul Roper Rameau, J-P. Dardanus. Opera in five acts. Libretto by Charles-Antoine Leclerc de La Bruère. First performed Paris, 1739.       VENUS: Mireille Delunsch, sop CUPID, PLEASURE: Françoise Masset, sop DARDANUS: John Mark Ainsley, ten TEUCER: Russell Smythe, ten IPHIS: Véronique Gens, sop ANTÉNOR: Laurent Naouri, bar ISMÉNOR: Jean-Philippe Courtis, bar Les Musiciens du Louvre Ch & O/Marc Minkowski Archiv 476 7250 [02:35:43]    Venus encourages the Pleasures to reign in Cupid’s palace. Jealousy and her attendants attempt to disrupt them by causing them and Cupid to fall asleep. Venus urges Jealousy to awaken them, and Cupid urges all mortals to pay him homage. They then proceed to re-enact the story of Dardanus. Dardanus, son of Jupiter, co-founded the royal house of Troy with Teucer, King of Phrygia. They have since fallen out, and are now at war. Teucer’s daughter, Iphis, has feelings for Dardanus but is discouraged by her father. Teucer announces a military alliance with Anténor, another Trojan leader, to whom Iphis is to be given in marriage (to her dismay). The priest-magician, Isménor, offers to help Dardanus woo Iphis, displaying his powers by causing an eclipse of the sun. He bestows on Dardanus a staff that will allow him to disguise himself as Isménor. This power is invoked and Iphis approaches the supposed Isménor, seeking help in overcoming her love for Dardanus, who sheds his disguise and pledges his reciprocal love. Embarrassed, Iphis runs away. Dardanus has been captured. Anténor tells Iphis that this military success allows them to marry that day but Iphis rejects him. The Phrygian people’s victory celebrations are short-lived, as they learn that Neptune has despatched a sea-monster in retaliation for the mistreatment of Jupiter’s son. Anténor prepares for battle again. Jupiter orders Venus to free Dardanus in his sleep. She summons Dreams which depict Dardanus fighting the sea-monster which, so encouraged, he proceeds to do. He also rescues Anténor, who doesn’t recognise Dardanus and presents him with a sword in gratitude. Dardanus asks Anténor to promise that Iphis can reject him as a suitor if she chooses. In the belief that it was Anténor who killed the monster, Teucer welcomes him home triumphantly. Dardanus offers to give back Anténor’s sword but Anténor keeps his word by abandoning his wish to marry Iphis. Venus descends and reconciles the warring parties, and Cupid prepares for the marriage of Dardanus and Iphis. Rameau, J-P. Les niais de Sologne (1724).    Christophe Rousset, hpd. L'Oiseau-Lyre 425 886-2 [05:03] Montéclair, M. de Mes yeux, eteignez dans vos larmes, from Jephté (1732).    Sophie Daneman, sop; Les Arts Florissants/William Christie. Harmonia Mundi HMC 901 424.25 [04:12] 23:00 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Higdon, J. Impressions (2003).    Cypress String Quartet. Naxos 8.559298 [26:50] Mills, R. Symphony of nocturnes (2008).    Melbourne SO/Richard Mills. ABC 476 4217 [29:02]

AT THE OPERA A Charles Mackerras celebration, Part 11 Prepared and presented by Camille Mercep Janácek, L. From the house of the dead. Opera in three acts. Libretto by the composer. First performed, Brno, 1930.    Janácek, L. From the house of the dead, Act I    [27:21] Janácek, L. From the house of the dead, Act II    [29:41] Janácek, L. From the house of the dead, Act III    [33:44]    GORYANCHIKOV: Dalibor Jedlička, bass ALYEYA: Jaroslava Janská, sop SHISHKOV: Václav Zitek, bar FILKA MOROZOV: Jiři Zahradnič, ten Vienna State Opera Ch & O/Charles Mackerras.Total Time: 1:30:48 Decca 430 375-2    A political prisoner, the nobleman Alexander Petrovich Goryanchikov, arrives at a Siberian prison camp and is interrogated by the Commandant who orders him to be flogged. Meanwhile, the prisoners have found an eagle with a broken wing and begin to tease it. They admire its defiance and decide to look after it. As various prisoners relate the crimes that have brought them to Siberia, Goryantchikov is dragged in, near death, after his flogging. A year has passed and Goryanchikov has befriended a young Tartar boy, Alyeya, and has taught him to read and write. A prisoner, resentful of Goryanchikov having the means to buy tea, attacks him but Alyeya gets injured during the scuffle. In the prison hospital, Shiska tells Luka, who is dying from tuberculosis, the story of the girl whom he had married, who was rumoured to have been dishonoured by Filka. When Shiskov discovered she still loved Filka, he killed her. When Luka dies, Shishkov recognises him as Filka. The Commandant informs Goryanchikov that he has been pardoned and apologises for the flogging. As Goryanchikov is freed, the prisoners release the eagle whose wing has now fully healed. The guard orders them back to work. Dvorák, A. Song to the moon, from Rusalka (1901).    Renée Fleming, sop; Czech PO/Charles Mackerras. ABC 480 5629 [05:45] Nathan, I. Finale: Hail to the star that in glory appears, from Don John of Austria (1847; arr. Mackerras).    Cheryl Barker, sop; Sally-Anne Russell, mezz; Steve Davislim, ten; Grant Doyle, bar; Paul Whelan, bass; Sydney Philharmonia Chamber Singers; Sydney SO/Alexander Briger. ABC 476 4114 [08:49] 22:00 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Smyth, E. Serenade in D (1890).    BBC PO/Odaline de la Martinez. Chandos CHAN 9449 [35:28] Boulanger, L. D’un soir triste (1917).    BBC PO/Yan Pascal Tortelier. Chandos CHAN 9745 [10:37] Britten, B. Night piece, notturno (1963).    Stephen Hough, pf. Virgin VC 7 91203 2 [05:22] Broadstock, B. In the silence of the night.    Linda Kouvaras, pf. Move MCD 042 [09:31] Tailleferre, G. Sonata (1957).    Isabelle Moretti, hp. Harmonia Mundi 7905184 [08:57] Saariaho, K. Vent nocturne, I and II.    Garth Knox, va. ECM New Series 476 4501 [12:47] Isaacs, M. Nocturne (2005).    Simon Tedeschi, pf. ABC 481 0960 [03:26] Hosokawa, T. Lotus under the moonlight (2006).    Momo Kodama, pf; Mito CO/Seiji Ozawa. ECM 4855413 [22:46]

AT THE OPERA The 19th century opera, Part 11 Prepared and presented by Ian MacDonald Verdi, G. Luisa Miller. Opera in three acts. Libretto by Salvadore Cammorano after Schiller's play, Intrigue and love. First performed Naples, 1849.    Verdi, G. Luisa Miller, Act I    [55:53] Verdi, G. Luisa Miller, Act II    [39:07] Verdi, G. Luisa Miller, Act III    [36:10]    Rodolfo: Carlo Bergonzi, ten Count Walter: Giorgio Tozzi, bass Luisa: Anna Moffo, sop Federica: Shirley Verrett, mezz Miller: Cornell MacNeil, bar Wurm: Ezio Flagello, bass RCA Italiana Opera Ch & O/Fausto Cleva.Total Time: 2:11:10 RCA GD86646(2)    Rodolfo, son of Count Walter, shares a deep love with Luisa Miller, daughter of an old soldier. The Count wants Rodolfo to marry his cousin, Federica, but Rodolfo refuses, revealing that he knows a terrible secret about the Count’s past. The furious Count imprisons Miller, and his aide, Wurm, forces Luisa to write to Rodolfo saying she loves another. Rodolfo confronts Luisa, who admits writing the letter. Rodolfo poisons both himself and Luisa. Dying, Luisa tells him how Wurm forced her to write the letter. Miller, Count Walter and Wurm arrive and Rodolfo summons his last strength to kill Wurm before he falls dead beside Luisa. Verdi, G. Pietoso al lungo pianto, from A king for a day (1840).    Carlo Bergonzi, ten; New Philharmonia O/Nello Santi. LP Philips 6747 193 [02:15] Verdi, G. Tacea la notte placida, from Il trovatore    Nicole Car, sop; Australian Opera & Ballet O; Andrea Molino, cond. ABC 481 2371 [05:10] Verdi, G. Tacea la notte placida, from Il trovatore    Nicole Car, sop; Australian Opera & Ballet O; Andrea Molino, cond. ABC 481 2371 [05:10] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Anderson, Julian. The crazed moon (1997).    BBC SO/Oliver Knussen. Ondine ODE 1012-2 [13:27] Guastavino, C. Sonata (1970).    Michael Collins, cl; Michael McHale, pf. Chandos CHAN 10901 [17:03] Meyer, E. Quintet (1995).    Edgar Meyer, db; Emerson String Quartet. DG 474 321-2 [26:44] Skalkottas, N. Largo sinfonico (1944).    Malmö SO/Nikos Christadoulou. BIS BIS-CD-300904 [26:45]

AT THE OPERA Opera oscura: Excess in Ephesus Prepared and presented by Paul Roper Jommelli, N. Il Vologeso. Opera in three acts. Libretto by Mattia Verazi, after Apostolo Zeno. First performed Ludwigsburg, 1766.       VOLOGASES IV: Rachel Kelly, mezz LUCIUS VERUS: Stuart Jackson, ten BERENICE: Gemma Summerfield, sop LUCILLA: Angela Simkin, mezz FLAVIUS: Jennifer France, sop The Mozartists/Ian Page. Signum SIGCD692 [02:20:10]    In second-century Ephesus, recently conquered by the Romans, the Parthian king, Vologases IV, is assumed to have been killed in battle. Co-emperor, Lucius Verus, is hoping to woo Berenice, Vologases’ presumed widow. Lucius is betrothed to Lucilla, daughter of the other co-emperor, Marcus Aurelius. At a feast for Lucius, he is offered a cup of wine by a slave and passes it to Berenice. She recognises the slave as Vologases in disguise and he quietly dissuades her from drinking it: it is poisoned, and meant only for Lucius. After proclaiming his hatred for the Romans, Vologases is taken to prison. Learning that Lucilla and Flavius, a Roman envoy, have arrived in Ephesus, Lucius arranges a public spectacle. At the stadium, Vologases is led in. Berenice accidentally reveals his identity and jumps into the arena with him as the lion is released. His loyalties torn, Lucius throws his sword to Vologases so he can kill the lion. Vologases returns the sword and surrenders. Lucius promises Vologases freedom and restoration as king if he renounces his love for Berenice. He refuses and is returned to his cell. Lucius demands that Berenice choose between marrying him or seeing Vologases killed. Berenice gives in to Lucius. Lucius tells Vologases that he has been spared by Berenice’s decision, but she has reconsidered. Enraged, Lucius enchains them both. Roman forces stand ready to confront Lucius and return Vologases to the Parthian throne. Flavius and the soldiers break into Vologases’ cell and free him. After Berenice is tricked into thinking that Vologases is dead, he storms in with Flavius and the soldiers. Lucius, avoiding his own execution, restores Vologases and Berenice to the throne, returns to Rome and marries Lucilla. Jommelli, N. Chaconne, from Symphony in E flat, Periodical overture (1766).    Hanover Band/Roy Goodman, vn & dir. Nimbus NIM 5138 / 39 [04:14] 22:30 MUSIC OF THE NIGHT Luciano Berio 1925 Prepared by James Nightingale With Nena Beretin Berio, L. Eindrücke (1968-69).    NO of France/Pierre Boulez. apex 8573 89226 2 [10:13] Berio, L. Recurrences for wind quintet (1968).    Fodor Quintet. Babel 9055-2 [14:31] Berio, L. Sequenza II (1963).    Alice Giles, hp. Tall Poppies TP213 [06:50] Berio, L. Ritorno degli snovidenia (1976-77).    Pierre Strauch, vc; Ensemble InterContemporain/Pierre Boulez. Sony SK 45 862 [18:11] Berio, L. Rendering, after Schubert’s Symphony in D, D936a (c1990).    Milan Giuseppe Verdi SO/Riccardo Chailly. Decca 476 2830 [33:01]

AT THE OPERA Favourites, Part 10 Prepared and presented by Ian MacDonald Bellini, V. Norma. Opera in two acts. Libretto by Felice Romani after the tragedy, Norma ou L'infanticide by Alexandre Soumet. First performed Milan, 1831.       NORMA: Joan Sutherland, sop POLLIONE: John Alexnder, ten ADALGISA: Marilyn Horne, mezz London Symphony Ch & O/Richard Bonynge. Decca 289 470 413 2 [02:42:00]    The Gallic priestess, Norma, loves the Roman, Pollione, and has borne him two children. Pollione now loves Adalgisa and seeks to elope with her to Rome. Adalgisa confesses her love to Norma and begs to be relieved of her vows. Norma confesses her own love to Adalgisa and begs her to flee with Pollione and the children. Pollione is arrested in the temple and Norma resolves to offer him as a sacrifice to the goddess. She confesses her guilt before all and seeks purification on the funeral pyre. Pollione is overwhelmed by her devotion. Norma gives her children to her father and, hand in hand, she and her lover walk into the flames. Bellini, V. La farfalletta; Vanne o rosa fortunato (1863).    Dennis O'Neill, ten; Ingrid Surgenor, pf. Collins 15072 [04:10] 23:00 MUSIC OF THE NIGHT Namouna Prepared and presented by Dan Bickel Lalo, E. Ballet: Namouna (1882).    Monte Carlo PO/David Robertson. Auvidis V 4677 [56:00]

AT THE OPERA Anniversaries, Part 10 Prepared by Elaine Siversen With Jules Laurent Scarlatti, A. Griselda. Opera in three acts. Libretto by Apostolo Zeno. First performed Rome, 1721.    Scarlatti, A. Griselda, Sinfonia & Act I    [01:16:37] Scarlatti, A. Griselda, Act II    [01:02:22] Scarlatti, A. Griselda, Act III    [42:52]    GUALTIERO: Lawrence Zazzo, ct GRISELDA: Dorothea Röschmann, sop COSTANZA: Veronica Cangemi, sop CORRADO: Kobie van Rensburg, ten ROBERTO: Bernarda Fink, mezz OTTONE: Silvia Tro Santafé, mezz Akademie für Alte Musik Berlin/René Jacobs. Total Time: 3:01:51 Harmonia Mundi HMM 931805.07    Gualtiero, King of Sicily, married a poor shepherdess, Griselda. The marriage was deeply unpopular with the king's subjects and when a daughter, Costanza, was born, the king had to pretend to have her killed while secretly instead sending her to be brought up by Prince Corrado of Apulia. Now, faced with another rebellion from the Sicilians, Gualtiero is forced to renounce Griselda and promises to take a new wife. Costanza, unaware of her true parentage, is the proposed bride. She is in despair because she is in love with Roberto. The courtier, Ottone, is in love with Griselda and follows her when she is banished to her home in the country. She angrily rejects his advances. Gualtiero foils an attempt by Ottone to kidnap Griselda and allows her back to the court but only as Costanza's slave. Ottone still pursues Griselda and Gualtiero promises him her hand as soon as he himself has married Costanza. Griselda declares she would rather die and, moved by her faithfulness, Gualtiero takes her back as his wife. He reveals the true identity of Costanza and allows her to marry Roberto. Scarlatti, A. Arias with solo trumpet.    Judith Nelson, sop; Dennis Ferry, tpt; Gordon Murray, hpd. Harmonia Mundi HMA 1905137 [07:20] Scarlatti, A. Tutto appoggio il mio disegno, from Il Cambise (c1719).    Max Emanuel Cencic, ct; Il Pomo d’Oro/Maxim Emelyanychev. Decca 478 8422 [03:07] 23:30 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Say, F. Violin concerto, op 25, 1001 nights in the harem (2007).    Friedemann Eichhorn, vn; German Radio PO/Christoph Eschenbach. Naxos 8.574085 [27:52]

AT THE OPERA A Charles Mackerras celebration, Part 10 Prepared by Elaine Siversen With Angela Cockburn Delius, F. A village Romeo and Juliet. Opera in six scenes. Libretto by the composer and Jelka Delius after Gottfried Keller’s Romeo und Julia auf dem Dorfe. First performed Berlin, 1907.    Delius, F. A village Romeo and Juliet, Scenes 1 & 2    [43:59] Delius, F. A village Romeo and Juliet, Scenes 3 & 4    [25:09] Delius, F. A village Romeo and Juliet, Scenes 5 & 6    [42:13]    SALI as a child: Samuel Linay, ten VRELI as a child: Pamela Mildenhal, sop SALI: Arthur Davies, ten MANZ: Barry Mora, bar VRELI: Helen Davies, sop MARTI: Stafford Dean, bar DARK FIDDLER: Thomas Hampson, bar Arnold Schoenberg Choir; ORF SO/Charles Mackerras. Argo 430 275-2    Sali, son of the farmer Manz, and Vrenchen (Vreli), daughter of the farmer Marti, are children playing together on a plot of land. Manz and Marti dispute ownership of the land with the Dark Fiddler. They forbid the relationship between their respective children. Six years later, the dispute has ruined both parents. Sali and Vreli, who love each other, plan a meeting on the plot of land. The Dark Fiddler appears telling them that, despite what happens, they will meet again. Marti sees the two lovers and takes Vreli away. Sali injures Marti while trying to stop him taking Vreli and, as a result, Marti loses his reason and is confined in an asylum. His house is to be sold so Sali and Vreli decide to leave together. At a local fair, Sali and Vreli buy rings. They go to an inn, the Paradise Garden, where they can dance all night. The Dark Fiddler and some vagrants are drinking there. He greets the lovers and suggests they join him to share a vagabond life in the mountains. Instead, Sali and Vreli resolve to die together, uncompromising in their love for each other. They leave the inn and find a barge which they release from the dock and board. As it floats down the river, Sali removes the plug from the bottom of the barge and the lovers sink with the boat. Delius, F. Sea drift (1903-04).    Thomas Hampson, bar; Welsh National Opera Ch & O/Charles Mackerras. Argo 430 206-2 [25:30] 22:30 MUSIC OF THE NIGHT A touch of Glass Prepared by Jacky Ternisien With Nena Beretin Glass, P. Opening, from Glassworks (1981).    Vikingur Olafsson, pf. DG 479 6918 [07:45] Glass, P. Glasspiece #2, Facades, from Glassworks (1983).    Ensemble/Michael Riesman. Sony SMK87971 [07:20] Glass, P. Changing opinion, from Songs from liquid days (c2000).    Bernard Fowler, voice; Paul Dunkel, fl; Michael Riesman, pf. Sony SMK87972 [09:56] Glass, P. Freezing, from Songs from liquid days (c2000).    Linda Ronstadt, voice; Kronos String Quartet. Sony SMK87972 [03:16] Glass, P. Metamorphosis I, II and III (1988).    Philip Glass, pf. Sony SMK87976 [18:28] Glass, P. Études nos 8 and16, from Études (1994-2012; arr. Meijer).    Lavinia Meijer, hp. Sony G0100035642352 [10:26] Glass, P. String quartet no 3, Mishima (1985).    Kronos Quartet. Nonesuch 7559-79356-2 [15:30] Glass, P. Closing.    Philip Glass Ensemble. Sony 88697529862 [05:59]

AT THE OPERA The 19th century opera, Part 10 Prepared and presented by Camille Mercep Meyerbeer, G. Semiramide. Opera in two acts. Libretto by Gaetano Rossi. First performed Turin, 1819.    Meyerbeer, G. Semiramide, Act I    [01:06:25] Meyerbeer, G. Semiramide, Act II    [59:13]    SEMIRAMIDE: Deborah Riedel, sop TAMIRI: Olga Peretyatko, sop SCITALCE: Fiona Janes, mezz IRCANO: Filippo Adami, ten MIRTEO Wojtek Gierlach, bass Marco Bellei, hpd; Altensteig Rossini Choir; Würtenberg PO/Richard Bonynge.tOTAL tIME: 2:05:06 Naxos 8.660205-06    After the death of her husband, Semiramide, takes power as ruler of Babylon, by dressing as a man and pretending to be her weak son, Nino. She is presiding over a contest for the hand of Tamiri, the princess of a subject state whose husband must be chosen by Nino’s court. Before her marriage to the King of Babylon, Semiramide, as daughter of the King of Egypt, had tried to elope with Scitalce, an Indian prince, who had been told that she was unfaithful to him. He had stabbed her and left her for dead. He now is one of the contenders for the hand of Tamiri and is astonished to find Semiramide still alive. The other contenders are Semiramide's brother, who has not recognised her and wishes to avenge her supposed death by Scitalce, and a Scythian prince, Ircano. Mirteo, Semiramide’s younger borther, is also in love with Tamiri. During the proceedings Semiramide, fearful of being exposed, reveals her identity and offers to stand down as ruler of Babylon. Her people acclaim her as Queen. She and Scitacle are reconciled and Tamiri accepts Mirteo. Rossini, G. Serbami ognor si fido, from Semiramide (1823).    Joan Sutherland, sop; Marilyn Horn, mezz; London SO/Richard Bonynge. Decca 448 594-2 [07:56] 22:30 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Price, F. Violin concerto no 2 in D minor (1952).    Randall Goosby, vn; Philadelphia O/Yannick Nézet-Séguin. Decca 485 4234 [15:52] Westlake, N. Jovian moons (2001/02).    Slava Grigoryan, gui; Michael Kieran Harvey, pf. ABC 476 574-4 [16:09] Smalley, R. Trio (2001-02).    Darryl Poulsen, hn, Paul Wright, vn; Roger Smalley, pf. Melba MR 301112 [22:20] Brouwer, L. Guitar concerto no 5, Helsinki (1991-92).    Timo Korhonen, gui; Tampere PO/Tuomas Ollila. Ondine ODE 979-2 [29:34]

AT THE OPERA Favourites, Part 9 Prepared and presented by Anne-Louise Luccarini Mozart, W. Cosí fan tutte. Opera in two acts. Libretto by Lorenzo da Ponte. First performed Vienna, 1790.    Mozart, W. Cosí fan tutte, Act I    [01:22:05] Mozart, W. Cosí fan tutte, Act II    [01:17:56]    FIORDILIGI: Elisabeth Schwarzkopf, sop DORABELLA: Nan Merriman, sop FERRANDO: Léopold Simoneau, ten GUGLIEMO: Rolando Panerai, bar DON ALFONSO: Sesto Bruscantini, bar DESPINA: Lisa Otto, sop Philharmonia Ch & O/Herbert von Karajan. Naxos 8.111232/34 [02:40:01]    Fiordiligi and Dorabella are engaged to Ferrando and Guglielmo and are passionately in love. Don Alfonso bets the two men that their fiancees would prove false to them if the opportunity were to be offered. The men pretend that they are ordered abroad but return in disguise to court the ladies. With Don Alfonso’s plotting and with the wiles of their servant, Despina, each lady yields to the other’s lover. The ruse is revealed, the lovers eventually make up. Don Alfonso has won his bet, affirming [Così fan tutte] (Women all do it). 23:00 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Silvestrov, V. The messenger (1996).    Hélène Grimaud, pf; Camerata Salzburg. DG 483 7853 [10:27] Bortkiewicz, S. Nocturne in E flat, op 24 no 1, Diana; Valse grotesque, op 24 no 2, Satyr; Impromptu in E flat, op 24 no 3, Eros (1922).    Jouni Somero, pf. FC-Records FCRCD-9736 [16:07] Saariaho, K. Je sens un deuxième coeur (2003).    Gloria Cheng, pf; members of Calder Quartet. Harmonia Mundi HMU 907578 [16:43] Schat, P. Serenade for strings, op 31 (1984).    Caecilia Consort; Bob van Asperen, hpd; David Porcelijn, cond. Babel 8844-2 [10:38]

AT THE OPERA Anniversaries, Part 9 Prepared and presented by Ian MacDonald Wagner, R. Das Rheingold. Opera in one act. Libretto by the composer. First performed Munich, 22 September, 1869.       ALBERICH: Gustav Neidlinger, bar RHINEMAIDENS: Ode Balsborg, sop; Hetty Plümacher, sop; Ira Malaniuk, mezz WOTAN: George London, bass-bar FASOLT: Walter Kreppel, bass-bar FAFNER: Kurt Böhme, bass FREIA: Claire Watson, sop LOGE: Set Svanholm, ten ERDA: Jean Madeira, cont Vienna PO/Georg Solti. Decca 478 3707 [02:25:44]    Forswearing love, the Nibelung dwarf, Alberich, steals the Rhinemaidens’ gold to forge a ring which will make him ruler of the world. Wotan, ruler of the gods, has had Valhalla built by the giants, Fasolt and Fafner, but refuses to hand over the promised payment to the goddess Freia, whom they take hostage. Wotan and Loge trick Alberich to get the gold, including the ring, which he curses. The giants refuse to part with Freia until she is hidden by gold. Wotan is told by Erda to include the ring to escape its curse, warning that the doom of the gods is at hand. The giants quarrel over the gold and Fafner kills Fasolt through the power of Alberich’s curse. The gods cross the rainbow bridge into Valhalla. Wagner, R. In fernem Land; Mein lieber Schwan, from Lohengrin (1848).    Jonas Kaufmann, ten; Mahler CO/Claudio Abbado. Decca 478 1463 [10:56] Liszt, F. Valhalla, from Wagner's Rhinegold (pub. 1876).    Leslie Howard, pf. Hyperion CDS44540 [07:03] 23:00 MUSIC OF THE NIGHT Some Rachmaninov Prepared and presented by Dan Bickel Rachmaninov, S. Étude-tableau in C minor, op 39 no 7 (1916-17).    Alexander Melnikov, pf. Harmonia Mundi HMC 901978 [09:51] Rachmaninov, S. Trio élégiaque no 2 in D minor, op 9 (1893/1907/17).    Oistrakh Trio. Brilliant Classics 9272 [46:37]

AT THE OPERA A Charles Mackerras celebration, Part 9 Prepared and presented by James Nightingale Janácek, L. The Makropulos affair. Opera in three acts. Libretto by the composer after the comedy by Karel Čapek. First performed Brno, 1926.    Janácek, L. The Makropulos affair. Act I    [37:15] Janácek, L. The Makropulos affair. Act II    [29:57] Janácek, L. The Makropulos affair. Act III    [29:20]    EMILIA MARTY: Elizabeth Söderström, sop ALBERT GREGOR: Peter Dvroský, ten JAROSLAV PRUS: Václav Vitek, bar Vienna State Opera Ch; Vienna PO/Charles Mackerras. Decca 430 372-2 [01:35:20]    The singer Emilia Marty intervenes in a legal case concerning a disputed 100-year-old will. One of the parties to the will, Albert Gregor, is the descendant of the illegitimate son of a former Baron Prus; the other is the present baron. Emilia¹s interest is not so much in the document itself as in even more ancient papers with it. She eventually reveals that her real name is Elina Makropulos, born in 1575, daughter of a royal phyisican who had tried out an elixir on her which prolonged her life. She has lived for over 300 years, under various names, all with the initial E.M., and was the mother of Albert Gregor¹s ancestor. Feeling herself growing old, she is trying to find the formula to renew her life span but, when it is found, she decides she is tired of life and gives the document to the daughter of a clerk in the lawyer¹s office, who burns it as Marty dies. Schulhoff, E. Three atmospheric portraits, op 12 (1913).    Magdalena Kozená, mezz; Christoph Henschel, vn; Malcolm Martineau, pf. DG 471 581-2 [05:59] Dvořák, A. Slavonic dance in C minor, op 46 no 7 (1878).    Czech PO/Charles Mackerras. Supraphon SU 3422-2 031 [03:29] 22:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Hanson, H. Mosaics (1958).    Seattle SO/Gerard Schwarz. Delos DE3705 [12:00] Carneyro, C. Piano trio, op 24 (1928).    Trio Pangea. Naxos 8.573402 [21:48] Frances-Hoad, C. Cello concerto, Earth, sea, air (2022).    Laura van der Heijden, vc; BBC Scottish SO/Ryan Wigglesworth. Chandos CHSA 5346 [21:14] Holloway, R. Serenade in C, op 41 (1979).    Nash Ensemble. Hyperion CDA66930 [24:30] Tubin, E. Symphony no 3 (1940-42).    Swedish RSO/Neeme Järvi. BIS CD-342 [33:28]

AT THE OPERA The 19th century opera, Part 9 Prepared and presented by Camille Mercep Giordano, U. Fedora. Opera in three acts. Libretto by Arturo Colautti. First performed Milan, 1898.    Giordano, U. Fedora, Act I    [22:08] Giordano, U. Fedora, Act II    [39:21] Giordano, U. Fedora, Act III    [37:07]    PRINCESS FEDORA: Eva Marton, sop COUNT IPANOFF: José Carreras, ten Hungarian RT Ch & SO/Giuseppe Patanè. Hungaroton/CBS M2K 42181 [01:35:01]    In St Petersburg, Count Vladimir dies in the arms of Princess Fedora. She swears to avenge his murder. She contacts the police who suspect Count Ipanov, now in Paris. She pursues Ipanov who admits he killed Vladimir in a duel, defending his late wife’s honour. The two fall in love and go to Switzerland. Here Ipanov hears that shock caused by police information from a Paris spy has caused the deaths of his brother and mother. Fedora is overwhelmed with remorse at the terrible outcome of her plotting and Ipanov sees her guilt. She takes poison. He forgives her but she dies in his arms. Giordano, U. Come un bell di di Maggio, from Andrea Chénier (1895).    Luciano Pavarotti, ten; National PO/Riccardo Chailly. Decca 478 2346 [02:52] Giordano, U. Caro mio ben.    Luciano Pavarotti, ten; Philharmonia O/Piero Gamba. Decca 417 796-2 [03:03] 22:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Chausson, E. Poème, op 25 (1896; arr. Crellin).    Melbourne CO Strings/William Hennessy. mco.org.au [16:25] Alwyn, W. String quartet no 2, Spring waters (1975).    Quartet of London. Chandos CHAN 9219 [21:32] Balakirev, M. Symphonic poem: Tamara (1867-82).    BBC PO/Vassily Sinaisky. Chandos CHAN 9727 [20:45] Rachmaninov, S. Suite no 1, op 5, Fantasie-tableaux (1893).    John Ogdon, pf; Brenda Lucas, pf. ASV DCA 636 [25:15] Sviridov, G. Snowstorm (1975).    USSR RT Large SO/Vladimir Fedoseyev. Melodiya MEL 10 00214 [27:19]

AT THE OPERA Favourites, Part 8 Prepared and presented by Anne-Louise Luccarini Janácek, L. The excursions of Mr Brouček. Opera in two parts. Libretto by F.S. Procházka and others after Svaopluk Čech. First performed Prague, 1920.    Janácek, L. The excursions of Mr Brouček, Act I    [01:04:52] Janácek, L. The excursions of Mr Brouček, Act II    [58:06]    MATEJ BROUCEK: Jan Vacík, ten MAZAL: Peter Straka, ten MÁLINKA: Maria Haan, sop BBC Singers & SO/Jiří Bĕlohlávek. DG 477 7387 [02:02:58]    On his way home from a boozy night at the tavern, Mr Broucek finds himself transported to the moon, where he meets a strange collection of mathematicians, painters, musicians and poets, most of whom have counterparts in his real life, including the poet Azurean, who resembles Mazal, his non-paying poet tenant, and his betrothed, Etherea, who looks like Mazal’s earthly girlfriend, Malinka, with whom the poet had been quarrelling violently. Etherea falls in love with Mr Broucek, but when he discovers that they live on dew, he is glad to find himself back in Prague, where Mazal and Malinka are going home together, arm in arm. After another night at the tavern, Broucek falls into an underground passage and is transported back to the 15th century, where he is arrested as a spy but is taken under the protection of a citizen, Domsik. Domsik is killed during a battle defending the Hussites, and Broucek, accused of cowardice, is about to be burned. He wakes up back in the Prague of his own time, ready to boast about his exploits in saving the city. Janácek, L. Zdrávas Maria (1904).    Shelley Everall, sop; Douglas Paterson, vn; Michael Phillips, org; Choir of Gonville and Caius College, Cambridge/Geoffrey Webber. ASV DCA 914 [04:11] Janácek, L. Kaspar Rucky (1916).    Amanda Pitt, sop; New London Chamber Choir; Critical Band/James Wood. Hyperion CDA66893 [05:51] 22:30 MUSIC OF THE NIGHT A tribute to Shostakovich Prepared by Paul Cooke With James Nightingale Lewis, V. Red: a tribute to Shostakovich (1977; orch. Thorne).    Royal PO/Vic Lewis. PWK Classics PWK 1143 [04:31] Schnittke, A. Preludium in memoriam D. Shostakovich (1975).    Lydia Mordkovitch, vn; Emma Young, vn. Chandos 8988 [04:15] Britten, B. Jam lucis orto sidere, from The prodigal son, church parable no 3, op 81 (1968).    Peter Pears, ten; Robert Tear, ten; Bryan Drake, bar; John Shirley-Quirk, bass-bar. Decca 478 5364 [02:49] Tischenko, B. D. D. Shostakovich, a portrait, from 12 portraits for organ, op 113 (1992).    Hervé Désarbre, org; Alexei Korzoune, timp. Le Chant du Monde LDC 7781124 [12:18] Weinberg, M. Symphony no 12, In memoriam to D. Shostakovich (1976).    St Petersburg State SO/Vladimir Lande. Naxos 8.573085 [57:19]

AT THE OPERA Anniversaries, Part 8 Prepared and presented by Paul Roper Haydn, J. L'incontro improviso. Opera in three acts, Hob. XVIII:6. Libretto by Carl Fribert, after Louis Dancourt. First performed Eszterháza, 29 August 1775.       PRINCE ALI: Bernhard Berchtold, ten OSMIN: Markus Miesenberger, ten REZIA: Elisabeth Breuer, sop CALANDRO: Rafael Fingerlos, bar BALKIS: Anna Willerding, mezz SULTAN: Michael Wagner, bass L'Orfeo Baroque O/Michi Gaigg. cpo 555 327-2 [01:55:17]    The dervishes, who earn their living by begging and deception, gather in the market place in Cairo. Prince Ali’s servant, Osmin, decides to join them, to alleviate his constant hunger. In the harem, Rezia learns that Ali, her long-lost love, has been seen in the city and tells her friend, Balkis. Ali then appears in a city square. He explains that he fell in love with Rezia in Persia but she was captured by pirates who transported her to the harem. The head dervish, the Calandro, recognises Ali but, more importantly, Balkis tells him that a woman has seen him from the harem and wishes to meet him. She takes Ali there and he encounters Osmin, and becomes annoyed with his drunkenness. Rezia is reunited with Ali, and Osmin seeks the Calandro’s help in facilitating their escape. The Sultan is away hunting, and the lovers plan to flee. Balkis reveals that the Sultan is returning early, so they all hurry from the palace via a secret staircase. The Sultan offers a reward for the return of Rezia, and the Calandro decides to betray her and Ali. Ali adopts the disguise of a French painter but is arrested and brought before the Sultan together with Rezia. The Sultan forgives them and condemns the Calandro. The couple intercedes for him and the Sultan sentences him to exile from Cairo. Gluck, C. Ballet from Les Pèlerins de la Mecque, ou La rencontre imprévue (1764).    Lyon Opera O/John Eliot Gardiner. Erato 2292-4516-2 [10:11] Mozart, W. Overture to Die Entführung aus dem Serail, K384 (1782; arr. anon.).    Amadeus Winds/Bastiaan Blomhert. L'Oiseau-Lyre 425 690-2 [03:52] Mozart, W. Martern aller Arten, from Die Entführung aus dem Serail, K384 (1782).    Lynne Dawson, sop; Academy of Ancient Music; Christopher Hogwood. L'Oiseau-Lyre 430 339-2 [09:33] 22:30 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Vidar, J. Ólafur Liljurós, ballet for orchestra (1952).    Iceland SO/Rumon Gamba. Chandos CHSA 5319 [27:48] Tüür, E-S. Illuminatio (2008).    Lawrence Power, va; Tapiola Sinfonietta/Olari Elts. Ondine ODE 1303-2 [23:44] Saariaho, K. Fleurs de neige (1998).    Meta4. Ondine ODE 1242-2 [04:17] Eiríksdóttir, K. Renku (1992).    Ýmir Ensemble. Iceland Music ITM 8-03 [10:34] Kõrvits, T. To the moonlight (2011).    Estonian FO/Paavo Järvi. Alpha ALPHA 863 [17:09]

AT THE OPERA A Charles Mackerras celebration, Part 8 Prepared and presented by Ian MacDonald Mozart, W. The magic flute. Opera in two acts. Libretto by Emanuel Schikaneder. First performed Vienna, 1791.    Mozart, W. The magic flute, Act I    [01:03:23] Mozart, W. The magic flute, Act II    [01:13:24]    TAMINO: Barry Banks, ten QUEEN OF THE NIGHT: Elizabeth Vidal, sop PAMINA: Rebecca Evans, sop SARASTRO: John Tomlinson, bass PAPAGENO: Simon Keenlyside, bar PAPAGENA: Lesley Garrett, sop Geoffrey Mitchell Choir; London PO/Charles Mackerras.Total Time: 2:16:47 Chandos CHAN 3121(2)    Prince Tamino, threatened by a snake, is saved by three ladies, servants of the Queen of the Night. She asks him to rescue her daughter, Pamina, who has been abducted by a sorcerer, Sarastro. The ladies give Tamino a magic flute and his companion, Papageno the bird-catcher, some magic bells. Tamino finds Pamina and falls in love with her. The lovers reach a temple where Sarastro puts them through a series of severe trials to test their courage and love. They triumphantly come through every ordeal and are married. Papageno also finds his partner, Papagena. 22:30 MUSIC OF THE NIGHT A bit of Bartók Prepared and presented by Dan Bickel Bartók, B. Evening in the country, from Ten easy pieces (1908).    Lily Kraus, pf. Vanguard 08 9100 71 [02:34] Bartók, B. Concerto for orchestra (1943).    Chicago SO/Georg Solti. Decca 478 3706 [35:06] Bartók, B. Ballet: The wooden prince, op 13 (1917).    London SO/Antal Dorati. Mercury 478 5092 [47:18]

AT THE OPERA The 19th Century Opera, Part 8 Prepared and presented by Camille Mercep Balfe, M. The maid of Artois. Opera in three acts. Libretto by Alfred Bunn. First performed London, 1836.    Balfe, M. The maid of Artois, Act I    [01:18:20] Balfe, M. The maid of Artois, Act II    [54:16] Balfe, M. The maid of Artois, Act III    [15:28]    JULES DE MONTANGON: Stephen Anthony Brown, ten ISOLINE: Kay Jordan, sop MARQUIS DE CHATEAUX-VIEUX: Jonathan Pugsley, bass-bar SANS REGRET: John Molloy, bass Victorian Opera Ch & O/Philip Mackenzie.Total Time: 2:28:06 Campion Cameo 2042-43    Jules has come to Paris in search of his lost love, Isoline, who has been seduced by the Marquis de Chateaux-Vieux. He confides to Sergeant Sans Regret, telling him that he has no money or prospects of a job. Sans Regret tricks him into enlisting and, too late, Jules realises that he is in the service of the Marquis. Sans Regret tells the Marquis about this new recruit and his connection to Isoline. Isoline is in a sorrowful state and pleads with the Marquis to be released. She is shown the enlistment document showing that Jules is now in his regiment. The Marquis is determined to keep them apart and decides that Jules should be sent into exile. Jules attempts to escape to find Isoline, but he is captured and sent off to prison in Africa. In Africa, a new governor, the Marquis, arrives at the prison accompanied by several people including Isoline. She recognises Jules and the two escape into the desert. Resigned to die of thirst, they hear the distant sounds of a band. A procession of the Marquis and his retinue appears on the horizon. The couple are rescued and pardoned by the Marquis and the opera ends happily with Isoline singing of her rapture. Balfe, M. I dreamt I dwelt in marble halls, from The Bohemian girl (1845).    Joan Sutherland, sop; London SO/Richard Bonynge. Decca 480 4670 [04:31] Mozart, W. Hm hm hm hm!, from The magic flute, K620 (1791).    Wendy Dixon, sop; Kerry Elizabeth Brown, mezz; Rosemary Gunn, mezz; Michael Martin, ten; Roger Lemke, bar; Australian Opera and Ballet O/Richard Bonynge. ABC 446 276-2 [06:46] 23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin Sibelius, J. Valse triste; Scenes with cranes, from Kuolema, op 44 (1903).    Bournemouth SO/Paavo Berglund. EMI 5 69773 2 [10:19] Harbison, J. 19 Marraskuuta 1828 (1987).    Mi-Kyung Lee, va; Matti Hirvikangas, alto va; Jan- Erik Gustafsson, vc; Juhani Lagerspetz, pf. Classica CL 127 [15:49] Pärt, A. Tabula rasa (1977).    Gidon Kremer, vn; Tatjana Gridenko, vn; Reinut Tepp, pf; Kremerata Baltica/Eri Klas. Nonesuch 7559-79582-2 [28:45]

AT THE OPERA Opera oscura: Metastasio and Goethe Prepared and presented by Paul Roper Holzbauer, I. Tod der Dido. Opera in one act. Libretto by Anton Klein, after Metastasio. First performed Mannheim, 1784.       DIDO: Sandrine Piau, sop SELENE: Carmen Fuggiss, sop OSMIDA: Markus Schäfer, ten JARBAS: Thomas Mohr, bar Stuttgart Chamber Choir; Stuttgart Baroque O/Frieder Bernius. Carus 83.280 [53:27]    Dido, Queen of Carthage, is anxious that her lover, the Trojan hero Aeneas, will abandon her. Her sister, Selene, tells Dido that he is about to leave the island and suggests that she appeal to his emotions to encourage him to stay. Instead, Dido asks her friend, Osmida, to stop him. Osmida returns with news that not only has Aeneas fled but also that Jarbas, a warrior son of Jupiter, is destroying Carthage by fire in revenge for Dido’s unwillingness to marry him. Distraught at the fate of her city, Dido appeals to Selene, who is unable to reveal her own love for Aeneas. She urges Dido to flee, but she instead wants her friends to die with her. Jarbas’ forces rampage through Carthage and captures Dido. He asks again for her to marry him. Her continued refusal spurs him to vow to eliminate the city and its people forever. Facing this fate, Dido banishes Selene when she admits that she loves Aeneas. Dido then learns that Osmida had intended to betray her to the enemy forces. Abandoned by her friends, Dido casts herself into the flames that are consuming her realm. Reichardt, J. Enwin und Elmire. Opera in two acts. Libretto by Goethe, after Oliver Goldsmith's The vicar of Wakefield (1790-91).       ROSA: Johanna Stojkovic, sop VALERIO: Michael Kupfer, bar ELMIRE: Simone Kermes, sop ERWIN: Jörg Dürmüller, ten Cappella Coloniensis/Andreas Spering. cpo 999 860-2 [01:21:59]    Lovers, Rosa and Valerio, are concerned for their friend, Elmire, who has been rejected by Erwin. Valerio advises Elmira to seek counsel from a local hermit. They all go to look for him, although Rosa starts to feel resentful at Valerio’s care for Elmire’s wellbeing. Elmire tries to reassure and console Rosa. The hermit sings a song of faded roses as a metaphor for lost love. Valerio enters the hermit’s cottage and realises it is Erwin, who took the place of the original hermit after he had died. He tells Erwin that Rosa is now distant from him, because of jealousy. They hear Elmire and Rosa approaching, and Erwin agrees to pretend he is the original hermit. Elmire confesses that she misses Erwin, who then discloses his true identity. Both couples, having passed the test of love, can now decide to marry.. Mozart, W. Das Veilchen, K476 (1785).    Teresa Ringholz, soprano; Robert Spillman, fortepiano Arabesque Z 6576 [02:16] 22:30 MUSIC OF THE NIGHT Prepared by James Nightingale With Nena Beretin Poulenc, F. Evenings at Nazelles (1925).    Antony Gray, pf. ABC 481 1835 [25:13] Jolivet, A. Nocturne (1943).    Giacomo Menna, vc; Filippo Farinelli, pf. Brilliant Classics 95275 [10:09] Eisler, H. Night and fog (1955).    Middle German RSO, Leipzig/Jürgen Bruns. Capriccio C5368 [30:17] Edwards, R. Mantras and night flowers (1985-2001).    Bernadette Harvey, pf. Tall Poppies TP220 [18:33]

20:00 AT THE OPERA Favourites, Part 7 Prepared and presented by Camille Mercep Verdi, G. Otello. Opera in four acts. Libretto by Arrigo Boito. First performed Milan, 1887.    Verdi, G. Otello, Act I    [40:45] Verdi, G. Otello, Act II    [25:02] Verdi, G. Otello, Act III    [37:24] Verdi, G. Otello, Act IV    [31:06]    OTELLO: Plácido Domingo, ten IAGO: Sherrill Milnes, bar CASSIO: Frank Little, ten DESDEMONA: Renata Scotto, sop RODRIGO: Paul Crook, ten Ambrosian Opera Ch and Boys Ch; National PO/James Levine Total Time: 2:14:19 RCA 88697448202    The Moor, Otello, a general in the service of Venice, returns victorious from a battle against the Turks. Iago hates Otello for having promoted Cassio as captain over him. He lures Cassio into a drunken fight and Cassio is demoted by Otello. Otello has married Desdemona in secret. Iago rouses Otello’s jealousy by hinting that Cassio and Desdemona are lovers. When Desdemona asks Otello to reinstate Cassio, Otello refuses. Iago has acquired a handerkerchief that was Desdemona’s first love token from Otello. Iago claims to have seen the handkerchief in Cassio’s possession. Iago intercepts a passionate letter that Desdemona has sent to Otello renewing her vow to him but, because of the secrecy, the letter never mentions Otello’s name. Iago gives it to Otello, hinting to him that it was written to Rodrigo, the Doge’s son, who wishes to marry Desdemona. Consumed with jealousy at the supposed betrayal, Otello vows revenge. He enters Desdemona’s bedchamber and draws a dagger to stab her. In her sleep she murmurs words of passion and Otello believes they are for Rodrigo. She wakes as Otello is about to kill her and pleads with him that she is innocent and still loves him, but his jealousy has made him deaf to her pleas and he strangles her. Too late, he learns of Iago’s deception and stabs himself, kissing Desdemona as he dies. 22:30 MUSIC OF THE NIGHT Aladdin in Scandinavia Prepared and presented by Dan Bickel Atterberg, K. Overture to Aladdin, op 44 (1941).    Berlin SO/Stig Rybrant. Swedish Society SCD 1021 [06:06] Nielsen, C. Incidental music to Aladdin, op 34 (1918-19).    Mette Ejsing, cont; Guido Paevatalu, bar; Danish National Radio Chamber Choir & SO/Gennady Rozhdestvensky. Chandos CHAN 9135 [01:19:15]

AT THE OPERA Anniversaries, Part 7 Prepared and presented by Ian MacDonald Rossini, G. Le Comte Ory. Opera in two acts. Libretto by Eugène Scribe and Charles-Gaspard Delestre-Poirson. First performed Paris, 20 August 1825.    Rossini, G. Le Comte Ory, Act I    [01:06:17] Rossini, G. Le Comte Ory, Act II    [01:05:35]    COUNTESS ADÈLE: Sumi Joy, sop COUNT ORY: John Aler, ten ISOLIER: Diana Montague, mezz Opera Lyon Ch & O/John Eliot Gardiner.Total Time: 2:11:52 Philips 475 7014    Countess Adèle has been left alone when her brother and his men join the Crusades. Count Ory, in love with Adèle, disguises himself as a hermit in order to seduce the women left behind. Ory’s page, Isolier, not recognising his master, confides that he is in love with Adèle and plans to enter the castle disguised as a pilgrim. Ory resolves to use the plan for his own ends. Adèle consults the ‘hermit’ who prescribes a love affair to cure her. She confesses her feelings for Isolier but Ory warns her not to get involved with the page. She invites the ‘hermit’ to the castle, where he is recognised as Count Ory. Ory then returns with his men disguised as nuns and when the ‘pious sisters’ start carousing, Isolier realises who the ‘guests’ are, extinguishes the lamp in Adèle’s bedroom, and Ory, seeking Adèle, mistakenly makes his advances towards Isolier. When the latter reveals his identity, Ory is left with no choice but to make his escape as the Crusaders return. Rossini, G. La regata veneziana (c1850).    Elisabeth Söderström, sop; Kerstin Meyer, mezz; Jan Eyron, pf. BIS CD-17 [04:13] 22:30 MUSIC OF THE NIGHT Prepared and presented by Dan Bickel Prokofiev, S. Piano concerto no 2 in G minor, op 16 (1923).    Yuja Wang, pf; Simón Bolívar SO of Venezuela/Gustavo Dudamel. DG 479 1304 [30:58] Prokofiev, S. Symphony no 2 in D minor, op 40 (1924-25).    Czech PO/Zdenék Kosler. Supraphon SU 4093-2 [35:53] Prokofiev, S. Piano sonata no 2 in D minor, op 14 (1912).    Ivo Janssen, pf. Globe GLO 5015 [19:00]

AT THE OPERA A Charles MacKerras celebration, Part 7 Prepared and presented by James Nightingale Janácek, L. Sárka. Opera in three acts. Libretto by Julius Zeyer. First performed Brno, 1925.    Janácek, L. Sárka, Introduction & Act I    [26:38] Janácek, L. Sárka, Act II    [21:01] Janácek, L. Sárka, Act III    [16:27]    PREMYSL: Ivan Kusnjer, bar SÁRKA: Eva Urbanová, sop CTIRAD: Peter Straka, ten Prague Philharmonic Choir; Czech PO/Charles Mackerras.Total Time: 1:03:58 Supraphon SU 3485-2 631    After the death of Princess Libuse, women’s rights have been eroded and they stage a revolt against her husband, Premysl. Sárka leads her female troops against Ctirad, who is guarding Libuse’s tomb, but he puts them to flight. Sárka has herself tied to a tree, hoping to entrap Ctirad to his death, but when he frees her, they fall in love. Still she blows her horn to summon her troops, who kill Ctirad. The remorseful Sárka throws herself on to Ctirad’s funeral pyre. Janácek, L. Osud. Opera in three acts. Libretto by the composer and Fedora Bartosová. First performed Brno, 1934.    Janácek, L. Osud, Act I    [33:11] Janácek, L. Osud, Act II    [17:16] Janácek, L. Osud, Act III    [28:08]    ZIVNY: Philip Langridge, ten MILA VALKOVÁ: Helen Field, sop MILA’S MOTHER: Kathryn Langridge, sop Welsh National Opera Ch & O/Charles Mackerras.Total Time: EMI 7 49993 2    The composer Zivny’s affair with Mila had been broken up by her mother but Mila has given birth to Zivny’s son. Zivny has been writing an opera on their affair in which he expresses his bitterness about its ending. However, Zivny and Mila have decided to marry and are living with their four-year-old son and Mila’s mother, now demented. When Zivny plays through some of the opera, Mila’s mother attacks Zivny. When Mila tries to prevent her, the two women fall over a balcony to their deaths. Some years later, Zivny is teaching at the Conservatorium and students rehearse the opera, which is to be performed although it is unfinished. He tells the students that the story is based on his own life. He sees a vision of Mila and collapses, exclaiming that the end of the opera is now in God’s hands. Dvorák, A. Symphonic poem: The water goblin, op 107 (1896).    Czech PO/Charles Mackerras. Supraphon SU 4012-2 [20:19] 23:00 MUSIC OF THE NIGHT Prepared and presented by James Nightingale Feld, J. Sonata (1981-82).    Jirí Tancibudek, ob; David Blumenthal, pf. ABC 461 703-2 [15:24] Krása, H. Three songs to poems by Rimbaud (1943).    Maarten Koningsberger, bar; Arjan Kappers, cl; Frank Brakkee, va; Taco Kooistra, vc. Radio Netherlands 93007 [04:26] Schulhoff, E. Symphony no 5 (1938-39).    Bavarian RSO/James Conlon. Capriccio C7297 [35:00]

AT THE OPERA The 19th Century opera, Part 7 Prepared and presented by Camille Mercep Bizet, G. La jolie fille de Perth. Opera in four acts. Libretto by Jules-Henri Vernoy de Saint-Georges and Jules Adenis. First performed Paris, 1867.    Bizet, G. La jolie fille de Perth, Act I    [41:29] Bizet, G. La jolie fille de Perth, Act II    [36:10] Bizet, G. La jolie fille de Perth, Act III    [27:09] Bizet, G. La jolie fille de Perth, Act IV    [33:02]    HENRY, the blacksmith: Alfredo Kraus, ten CATHERINE: June Anderson, sop DUKE OF ROTHSAY: Gino Quilico, bar MAB: Margarita Zimmermann, mezz RALPH: José van Dam, bass SIMON, the glover: Gabriel Bácquier, bass French Radio Choirs; Nouvel PO/Georges Prêtre.Total Time: 2:19:01 EMI 7475598    Set in 14th century Scotland, the blacksmith, Henry, yearns for the glover’s daughter, Catherine, to be his Valentine. He gives her a rose brooch in advance of the day. The Duke of Rothsay arrives at the forge, and he flirts with Catherine which almost causes a fight, until Mab (the Queen of the Gypsies) comes to protect the Duke. She picks up the rose brooch which Catherine has thrown away. Later, the Duke asks Mab to bring Catherine to a ball at his palace that night. At the palace, the Duke is expecting his new conquest, and when a masked lady appears, he finds that it is Mab (who promptly disappears, leaving the brooch behind). Henry arrives, thinking Catherine has been unfaithful, so he hides. Catherine’s father, Simon the glover, invites the Duke to his daughter’s upcoming wedding. Thinking this confirms his suspicions, Henry accuses Catherine of betrayal, especially after noticing that the Duke has the rose brooch. Ralph, the glover’s apprentice, tries to persuade Henry that his suspicions are unfounded, and agrees to meet Henry in a duel. Later, Mab arrives with the news that the Duke has prevented the duel, but the glover alleges his daughter has lost her mind. Catherine regains her senses and is soon back in Henry’s arms preparing for a happy Valentine’s Day. Bizet, G. Suite no 2 from L’arlésienne (1872).    Philharmonia O/Herbert von Karajan. EMI CDM 1 66424 2 [19:17] Bizet, G. Nour Eddin, roi de Lahore, from Djamileh (1871).    Denyce Graves, mezz; Monte Carlo PO/Marc Soustrot. Fnac 592056 [04:02]   23:00 MUSIC OF THE NIGHT Erik Satie: Arrangements and tributes Prepared by Paul Cooke With Nena Beretin Satie, E. Trois sonneries de la Rose (1892; arr. Ivanoff).    Ensemble Saraband/Vladimir Ivanoff. Dou-Tak NTCD808 [08:49] Rüegg, M. Reflections on Gnossienne no 2.    Vienna Art O/Mathias Rüegg. Hat Hut hat ART 6024 [04:26] Schwertsik, K. Adieu Satie, op 86.    Per Arne Glorvigen, ban; Alban Berg Quartet. EMI 5 57778 2 [16:51] Halligan, D. Variations on a theme by Erik Satie.    Blood, Sweat and Tears. Columbia/Legacy CK63986 [02:36] Munro, I. Divertissement on the name of Erik Satie (2006).    Dmitry Onishchenko, pf; Flinders Quartet. Fine Music concert recording [19:38]

AT THE OPERA Favourites, Part 6 Prepared and presented by Ian MacDonald Bizet, G. Carmen. Opera in three acts. Libretto by Henri Meilhac and Ludovic Halévy, based on the novel by Prosper Mérimée. First performed Paris, 1875.    Bizet, G. Carmen, Act I    [53:45] Bizet, G. Carmen, Act II    [44:14] Bizet, G. Carmen, Act III    [59:06]    MICAËLA: Ileana Cotrubas, sop DON JOSÉ: Plácido Domingo, ten CARMEN: Teresa Berganza, sop ESCAMILLO: Sherrill Milnes, bar Ambrosian Singers; London SO/Claudio Abbado.Total Time: 2:36:47 DG 419 636-2    Micaëla, a country girl, seeks Don José a corporal. Cigarette girls come out from a factory, including Carmen, who rejects male advances, but throws a rose at the silent Don José. Micaëla gives José a letter from his mother. In a factory struggle Carmen stabs another woman and José is made to guard her. When Carmen flirts with him, he allows her to escape and is jailed. At an inn, the bullfighter, Escamillo, propositions Carmen who rejects him. Carmen persuades José to desert and join her smuggler friends. On their march to the border, Carmen becomes tired of José’s jealousy. Carmen foretells death in the cards. Micaëla tells José his mother is dying and they leave, but José vows to return for Carmen. She, however, follows Escamillo to the bullfights in Seville. José returns and, when Carmen refuses him, stabs her. Bizet, G. Je crois entendre encore, from The pearl fishers (1863).    David Hobson, ten; Tasmanian SO/Marco Guidarini. ABC 461 677-2 [03:36] Bizet, G. Serenade, from The fair maid of Perth (1866).    Thomas Edmonds, ten; Adelaide SO/Henry Krips. LP ABC/RCA SP 177 [03:36] 23:00 MUSIC OF THE NIGHT Prepared and presented by Dan Bickel Mozart, W. Ballet music from Idomeneo, K367 (1781).    Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 452 604-2 [24:18] Carter, E. Ballet: The minotaur (1947).    New York Chamber Symphony of the 92nd Street Y/Gerard Schwarz. Nonesuch 7559-79248-2 [32:58]