Bath Philharmonia - Orpheus in the underworld

Page 1

PROGRAMME Verdi, La Traviata, Prelude to Act One Verdi, La Traviata, Brindisi Verdi, La Traviata, E’ strano! Offenbach, Overture to Orpheus in the Underworld Offenbach, Orpheus in the Underworld, Pluto’s Aria Puccini, La Bohème, Final Scene Act One Ania Jeruć (soprano) John Hudson (tenor) Jason Thornton (conductor) The Jennifer Skellett Chair

INTERVAL Screening of Baz Luhrmann’s film Moulin Rouge!


Ania Jeruć Soprano Ania Jeruć is a Polish soprano who has received widespread critical acclaim for her charged and beautifully sung portrayal of Violetta in La Traviata. Her current and future credits include Violetta in Opera North’s new production of La Traviata, Mathilde in Polish National Opera’s production of Guillaume Tell directed by David Pountney, her Swedish debut as Violetta for Opera på Skäret Festival, Donna Elvira in English Touring Opera production of Don Giovanni, Hanna in Straszny Dwór for Polish National Opera and Concert Galas with the Royal Philharmonic Orchestra at the Royal Festival Hall in London and with Swedish Chamber Orchestra in Sweden. Anna made her professional debut in 2012 as Pamina in Die Zaubeflöte for Wexford Festival Opera. Her other engagements include Violetta for Wexford Opera Festival and Dorset Opera Festival directed by Sir Jonathan Miller, guest soloist in the gala concert at Wexford Festival, and Fiordiligi and Micaela for London Festival Opera. Whilst in Poland, Ania was a prize winner in many vocal competitions and the recipient of numerous awards, including The Suwalki President Scholarship, the International Voice Competition in Duszniki Zdrój, the competition for Young Opera Singers in Katowice, the Moniuszko Competition in Podlasie, and the Halska Competition in Wroclaw.

Ania has worked for various opera companies and festivals in Europe including Wexford Opera Festival, Schleswig-Holstein Music Festival with director Rolf Beck, London Festival Opera, Dorset Opera Festival with director Jonathan Miller, London Festival Opera and Opera di Peroni. Ania made her concert debut in The National Theatre, Warsaw and has participated in masterclasses and courses in Hamburg, Vienna, Warsaw and London (National Opera Studio). On the concert platform Ania has recently appeared as soloist in ‘Exsultate Jubilate’ at the Dolnoslaski Music Festival in Poland, Verdi’s Requiem at the Shaldon Festival, an Opera Gala celebrating Limerick’s year as City of Culture with the Voices of Limerick and Philip Thomas, Elgar’s The Spirit of England, Vaughan Williams’ Dona Nobis Pacem, Bach’s St John Passion at Bath Abbey with the Bournemouth Symphony Chorus and Southern Sinfonia and Opera North’s ‘A History of Opera in Song’ Season Launch Concert at Harewood House. Ania Jeruć is a native of Olecko, Poland. She graduated from the Panstwowa Szkola Muzyczna in Suwalki, under the tuition of M. Borowska and from the Vocal and Acting Faculty in Breslau, under the tuition of E. Sasiadek, with a Masters of Music (MMus Hons)

John Hudson Tenor John Hudson studied singing at the Guildhall School of Music and Drama with Laura Sarti and subsequently with Josephine Veasey. He was a company principal at ENO from 1993 to 2004 where roles included: Macduff (Macbeth), Rodolfo (La Bohème), Ottavio (Don Giovanni), Alfredo (La Traviata), des Grieux (Manon), Leicester (Mary Stuart) Nadir (The Pearl Fishers), Ernesto (Don Pasquale), Steersman (The Flying Dutchman), Tamino (Magic Flute), Duke (Rigoletto), the title role in Ernani, Pinkerton (Madam Butterfly), Turiddu (Cavalleria Rusticana) and Cavaradossi (Tosca); he returned in 2007 to sing Radames (Aida). Other operatic roles have included Alfredo and Don José (Carmen) for WNO, Rodolfo, Don José, Manrico (Il Trovatore), Duke (Rigoletto), Radames, Cavaradossi and Pinkerton for Scottish Opera, the title role of Andrea Chénier at Opera Holland Park and Dick Johnson/Fanciulla for Grange Park. He has also sung Alfredo for Auckland Opera in New Zealand, the title role of Ernani and Jacapo Foscari (I due foscari) for the Nationale Reisopera, the Netherlands and Don José (Carmen) for West Australian Opera in Perth.

Concert performances include Beethoven’s 9th Symphony in Paris and at the Barbican, Messiah in Ottawa with Trevor Pinnock, concerts with City of Birmingham Symphony Orchestra and regular Classical Spectacular performances with Raymond Gubbay. He also appeared as a guest on BBC 2’s Television programme Viva la Diva with Lesley Garrett. He has also taken part in filmed extracts of Donizetti for a film on the life of the composer, conducted by Sir Mark Elder, for German television. Recent and future engagements include Calaf/Turandot for Musica Viva Hong Kong, Don José (Carmen) for Raymond Gubbay Productions at the 02 arena, Radames/Aida for Opera Holland Park, the title role in Puccini’s Edgar with New Sussex Opera, performances with the Royal Philharmonic Orchestra, Bath Philharmonia, Raymond Gubbay and with the RTE in Dublin, Verdi’s Requiem at the Cadogan Hall, Queen Elizabeth Hall and in Halifax, Gala Concerts at Warwick Castle and Chatsworth House as well as Keil’s Donna Branca with the Teatro Nacional de San Carlos, Lisbon.

Verdi, La Traviata, Prelude to Act One Verdi, La Traviata, Brindisi Verdi, La Traviata, E’ strano! La Traviata is one of Verdi’s tragic masterpieces. It tells the story of Violetta, a consumptive courtesan and her love for Alfredo, a bourgeoise countryman. The music is both dramatic and supremely lyrical. The overture to Act 1 sets the tragic context of the work with a contemplative melody. The Brindisi is the drinking song from Act 1 at Violetta’s salon, and in E strano!. Sempre Libre, Violetta fights her own internal battle of whether to stay alone or accept love. La Traviata Attributed to Carl d’Unker (1828–1866)

La Traviata, Brindisi Alfredo Libiamo, libiamo ne’lieti calici che la bellezza infiora. E la fuggevol, fuggevol ora s’inebrii a voluttà Libiam ne’dolci fremiti che suscita l’amore, poiché quell’occhio al core onnipotente va. Libiamo, amore, amor fra i calici più caldi baci avrà

Alfredo Let’s drink, let’s drink from the joyous chalices that beauty so truly enhances. And may the brief moment be inebriated with voluptuousness. Let’s drink for the ecstatic feeling that love arouses. Because this eye aims straight to the heart, omnipotently. Let’s drink, my love, and the love among the chalices will make the kisses warmer

Violetta Tra voi, tra voi saprò dividere il tempo mio giocondo; Tutto è follia, follia nel mondo ciò che non è piacer Godiam, fugace e rapido è il gaudio dell’amore, è un fior che nasce e muore, ne più si può goder Godiamo, c’invita, c’invita un fervido accento lusinghier.

Violetta With you all, I can share my happiest times. Everything in life which is not pleasure is foolish. Let’s enjoy ourselves for the delight of love is fleeting and quick. It’s like a flower that blooms and dies And we can no longer enjoy it. So enjoy; A keen and flattering voice invites us!

Violetta La vita è nel tripudio

Violetta Life means celebration.

Alfredo Quando non s’ami ancora

Alfredo Only if one hasn’t known love.

Violetta Nol dite a chi l’ignora,

Violetta Don’t tell someone who doesn’t know.

Alfredo È il mio destin così...

Alfredo But this is my fate...

Violetta/Alfredo Ah si, godiamo, la tazza, la tazza e il cantico, la notte abbella e il riso; in questo, in questo paradiso ne scopra il nuovo dì.

Violetta/Alfredo Let’s enjoy the wine and the singing, the beautiful night, and the laughter. Let the new day find us in this paradise.

La Traviata, E Strano Violetta E’ strano! e’ strano! in core Scolpiti ho quegli accenti! Sari’a per me sventura un serio amore? Che risolvi, o turbata anima mia? Null’uomo ancora t’accendeva O gioia Ch’io non conobbi, essere amata amando! E sdegnarla poss’io Per l’aride follie del viver mio?

Violetta How strange!... How strange!... His words are engraved on my heart. Would a serious love be a calamity? What do you think, my troubled soul? No man has yet set you a flame... Oh joy unknown, to love and to be loved!... How can I reject it For this life of pointless enjoyment?

Ah, fors’e’ lui che l’anima Solinga ne’ tumulti Godea sovente pingere De’ suoi colori occulti! Lui che modesto e vigile All’egre soglie ascese, E nuova febbre accese, Destandomi all’amor.

Ah! perhaps it is he whom my soul, Lonely amidst all the tumult, Delighted in picturing In mysterious colours... He who, discret and watchful, Came to my house when I was ill And kindled a new fever By awakening me to love!...

A quell’amor ch’e’ palpito Dell’universo intero, Misterioso, altero, Croce e delizia al cor.

That love which is the heart-beat Of the whole universe, Mysterious, exalted, Pain and delight of the heart.

A me fanciulla, un candido E trepido desire Questi effigio’ dolcissimo Signor dell’avvenire, Quando ne’ cieli il raggio Di sua belta’ vedea, E tutta me pascea Di quel divino error.

When I was a girl, a pure And diffident longing Showed me the dear image Of him, for whom I waited. When in the sky I beheld The brilliance of his beauty, And this divine fallacy Sustained me.

Senti’a che amore e’ palpito Dell’universo intero, Misterioso, altero, Croce e delizia al cor!

I felt that love is the heart-beat Of the whole universe, Mysterious, exalted, Pain and delight of the heart.

Follie! follie delirio vano e’ questo! Povera donna, sola Abbandonata in questo Popoloso deserto Che appellano Parigi, Che spero or piu’? Che far degg’io! Gioire, Di volutta’ nei vortici perire. Gioir! Gioir!

Madness!... madness!.. these are vain musings. Poor woman, alone, Abandoned in this Crowded desert Which they call Paris, What more can I hope for?... What should I do? Enjoy myself, Perish in the whirlpool of desire. Enjoy myself!

Sempre libera degg’io Folleggiar di gioia in gioia, Vo’ che scorra il viver mio Pei sentieri del piacer, Nasca il giorno, o il giorno muoia, Sempre lieta ne’ ritrovi A diletti sempre nuovi Dee volare il mio pensier.

I must always be free To hurry from pleasure to pleasure, I want my life to pass Along the path of delight. At daybreak or at the end of the day, Always happy, where ever I am, My thoughts will ever fly Towards new delights.

Alfredo Amor e palpito dell’universo intero...

Alfredo Love is the heart-beat of the whole universe...

Violetta Follie! follie Gioir! Gioir! Sempre libera degg’io...

Violetta Madness!... madness!.. Pleasure! Pleasure! I must always be free...

Offenbach, Orpheus in the Underworld Offenbach’s Orpheus in the Underworld contains one of the most memorable tunes from opera – the Can Can. The composer takes the Orpheus & Euridice legend and imbues it with a suave, Parisian elegance and sophistication demonstrating wit, drama and intrigue. The overture is bubbly and melodically brilliant with highly virtuosic passages showing off the soloists in the orchestra, concluding with the ubiquitous Can Can. Pluto’s aria tells of his intoxication with women. Orpheus in the Underworld Jan Brueghel the Elder (1568–1625)

Pluto’s Aria Idyllic, the life that you lead! Frolicking, reveling, idling, too, Under skies ever blue, While I have to toil in the pits, Confined to the smoky chambers Of the underworld down below. How soothing and balmy the breeze, Like the breath of a goddess! Utter delight, the scent of laurel and of myrtle, Of nectar and ambrosia! Hear the coo coo coo of the shy turtle dove, Making love! And the song of Apollo, His fingers on the lyre, Creating golden honey. Forest and water nymphs, Muses at leisure; The Graces, the Graces, the Graces We don’t forget, no, no! No, no! No, no! The Graces we don’t forget As in a row they dance, Tripping the light fantastic Under the ring around the moon.

Oh the moon, oh the moon, oh the moon of May! Hear the coo coo coo of the shy turtle dove, Making love! And the song of Apollo, His fingers on the lyre, Creating golden sound. How sweetly scented is the air! A mellow medley of aromas, The perfume of the night And the perfume of the day, The perfume of the dawn And the perfume of Graces, The perfume of Muses, The perfume of the Nymphes!

Puccini, La Boheme The conclusion of Act 1 of La Boheme is surely one of the greatest scenes in all opera. Set in Rudolfo’s room, he hears Mimi knocking at the door. They tell each other of their dreams and aspirations in the arias Your Tiny Hand is Frozen (Rudolfo), They Call Me Mimi (Mimi), and finally the great duet, Beautiful Girl in the Moonlight. Their love for one another is depicted through Puccini’s extraordinary romantic musical language and his beautiful conversational lyricism.

Rodolfo (imbarazzato) Ed ora come faccio?... (Va a prendere dell’acqua e ne spruzza il viso di Mimì) Così! Che viso d’ammalata. (Mimì rinviene) *Si sente meglio?

Rodolfo (embarrassed) What do I do? (He fetches a little water and splashes some on Mimì’s face) There! How ill she looks. (Mimì regains consciousness) Do you feel better?

Mimì Sì.

Mimì Yes.

Rodolfo Qui c’è tanto freddo. Segga vicino al fuoco. Aspetti.. un po’ di vino?

Rodolfo It’s very cold in here, sit closer to the fire... One moment.. a little wine?

Mimì Grazie...

Mimì Thank you.

Rodolfo (Le dà il bicchiere e le versa da bere) A lei.

Rodolfo (He gives the glass to her and pours her a drink) For you.

Mimì Poco, poco.

Mimì Just a little, only a little.

Rodolfo Così?

Rodolfo So?

Mimì Grazie. (Beve)

Mimì Thank you. (she drinks)

Rodolfo (Thoughtful) Are you unwell?

Rodolfo (fra sé) Che bella bambina!

Rodolfo (to himself) What a lovely young girl!

Mimì No... nulla.

Mimì No.. it’s nothing.

Rodolfo Impallidisce!

Rodolfo You look so pallid!

Mimì Ora permetta che accenda il lume. È tutto passato.

Mimì Now if you wouldn’t mind lighting my candle. Its all passed now.

Mimì Il respir... Quelle scale...

Mimì I’m breathless, it’s those stairs... (She faints, and Rodolfo hardly has time to support her. He carefully lays her down on a chair. Meanwhile from the hands of Mimì the candlestick and key fall)

Rodolfo Tanta fretta?

Rodolfo So much haste?

Mimì Sì. (Rodolfo scorge a terra il candeliere, lo raccoglie, accende e lo consegna a Mimì senza far parola)

Mimì Yes. (Rodolfo notices the candlestick on the floor, picks it up, lights the candle and gives it to Mimì without a word)

Mimì Grazie. Buona sera. (Esce)

Mimì Thank you and good evening. (she leaves)

Rodolfo (L’accompagna fino all’uscio) Buona sera. (Ritorna subito al lavoro)

Rodolfo (he accompanies her to the door) Good evening. (Returning to his work)

(A bussare timida alla porta si sente ) Chi è là?

(A timid knock at the door is heard) Who is there?

La voce di Mimì (di fuori) Scusi.

Mimì’s voice (from outside) Excuse me please.

Rodolfo (alzandosi) Una donna!

Rodolfo (raising himself) A woman!

La voce di Mimì Di grazia, mi si è spento il lume.

Mimì’s voice Please, my candle has extinguished.

Rodolfo (Corre ad aprire la porta) Ecco.

Rodolfo (He runs to open the door) Here!

Mimì (sull’uscio, con un lume spento in mano ed una chiave) Vorrebbe?

Mimì (On the doorstep, with an extinguished candle in one hand and a key in the other) Would you?

Rodolfo S’accomodi un momento.

Rodolfo Do come in for a moment.

Mimì Non occorre.

Mimì It is not necessary.

Rodolfo (insistendo) La prego, entri. (Mimì, entra, ma subito è presa da soffocazione)

Rodolfo (insisting) I beg you... come in. (Mimì enters, but her breathing suddenly turns to gasps)

Rodolfo (premuroso) Si sente male?

(Sviene, e Rodolfo è appena a tempo di sorreggerla ed adagiarla su di una sedia. Mentre dalle mani di Mimì cadono candeliere e chiave)

Mimì (ritornando) Oh! sventata, sventata! La chiave della stanza dove l’ho lasciata?

Mimì (returning) Oh! dear, how thoughtless of me! Where can I have left the key to my room?

Rodolfo (trova la chiave) Ah! (mette la chiave in tasca)

Rodolfo (finding the key) Ah! (putting the key in his pocket)

Rodolfo Non stia sull’uscio; il lume vacilla al vento. (Il lume di Mimì si spegne di nuovo)

Rodolfo Don’t stand in the doorway; your candle’s starting to waver in the draft. (Mimì’s candle goes out once again)

Mimì L’ha trovata?...

Mimì It is found?

Rodolfo No!

Rodolfo No!

Rodolfo (Accorre colla sua candela, ma avvicinandosi alla porta, anche il suo lume si spegne) Oh Dio!... Anche il mio s’è spento!

Rodolfo (He runs over with his candle, but as he gets close to the door it goes out) Oh Heavens! my own has gone out now!

Mimì Mi parve...

Mimì It seemed to me...

Rodolfo In verità...

Rodolfo In truth, no...

Mimì Cerca.

Mimì Please look.

Mimì Ah! E la chiave ove sarà?... (Rodolfo chiude la porta)

Mimì Ah! Where can I have lost my key?... (Rodolfo closes the door)

Rodolfo Buio pesto!

Rodolfo Pitch-black!

Mimì Disgraziata!

Mimì Oh, how unfortunate!

Rodolfo I’m looking! (Pretending to search and guided by the voice and footsteps of Mimì, Rodolfo moves towards her, head bowed, hoping to touch her. Suddenly he finds himself close to Mimì, and their hands meet)

Rodolfo Ove sarà?

Rodolfo Where can it be?

Rodolfo Cerco! (Finge di cercare, ma guidato dalla voce e dai passi di Mimì, tenta di avvicinarsi ad essa che, china a terra, cerca sempre tastoni: in questo momento Rodolfo si è avvicinato ed abbassandosi esso pure, la sua mano incontraquella di Mimì)

Mimì (avanzandosi cautamente) Importuna è la vicina...

Mimì (She cautiously advances) What a nuisance you have for a neighbour...

Mimì (sorpresa) Ah!

Mimì (surprised) Oh!

Rodolfo (Si volge dalla parte ove ode la voce di Mimì) Ma le pare?...

Rodolfo (turning towards Mimì’s voice) You’re not a nuisance.

Mimì Importuna è la vicina...

Mimì What a nuisance you have for a neighbour...

Rodolfo (tenendo la mano di Mimì, con voce piena di emozione!) *Che gelida manina Se la lasci riscaldar. Cercar che giova? Al buio non si trova. Ma per fortuna è una notte di luna, e qui la luna l’abbiamo vicina.

Rodolfo (Holding Mimì’s hand in a voice that’s full of emotion) This little hand is frozen, let me warm it here in mine. What’s the use in searching? It’s far too dark to find it. But by our good fortune, it’s a night lit by the moon, and up here the moon is our closest of neighbours.

Rodolfo (Cerca la chiave sul pavimento, strisciando i piedi.) Cosa dice, ma le pare!

Rodolfo (Searching the floor for the key with his feet) What are you saying? No not at all.

(mentre Mimì cerca di ritare la mano) Aspetti, signorina, le dirò con due parole chi son, e che faccio, come vivo. Vuole?

(As Mimì tries to withdraw her hand) One moment, mademoiselle, let me tell you in just two words, who I am, what I do, and how I live. Shall I?

Mimì Cerchi.

Mimì Help me look.

Rodolfo Cerco.

Rodolfo I’ll look.

Mimì Ove sarà?...

Mimì Where can it be?

(Mimì tace: Rodolfo lascia la mano di Mimì, la quale indietreggiando trova una sedia sulla quale si lascia quasi cadere affranta dall’emozione) Chi son? Sono un poeta. Che cosa faccio? Scrivo.

(Mimì says nothing: Rodolfo lets go of Mimì’s hand. Full of emotion she reaches back for a chair upon which to drop) Who am I? I am a poet. What do I do here? I Write. And how do I live? I live

E come vivo? Vivo! In povertà mia lieta scialo da gran signore rime ed inni d’amore. Per sogni e per chimere e per castelli in aria, l’anima ho milionaria. Talor dal mio forziere ruban tutti i gioelli due ladri, gli occhi belli. V’entrar con voi pur ora, ed i miei sogni usati e i bei sogni miei, tosto si dileguar! Ma il furto non m’accora, poiché, v’ha preso stanza la dolce speranza! Or che mi conoscete, parlate voi, deh! Parlate. Chi siete? Vi piaccia dir!

in my contented poverty, as if a grand lord, I squander odes and hymns of love. In my dreams and reveries, I build castles in the air, where in spirit I am a millionaire. Yet sometimes from my safe, all my gems are stolen by two thieves, a pair of lovely eyes! They entered with you just now! Now all past dreams have disappeared. Beautiful dreams I’d cherished, immediately vanished without a trace! But the theft does not wound me deeply, because, in their room they have been replaced by sweet hope! Now you know all about me. Will you tell me who you are? Will you say? Please do tell!

Mimì (È un po’ titubante, poi si decide a parlare; sempre seduta) *Sì, Mi chiamano Mimì, ma il mio nome è Lucia. La storia mia è breve: a tela o a seta ricamo in casa e fuori... Son tranquilla e lieta ed è mio svago far gigli e rose. Mi piaccion quelle cose che han sì dolce malìa, che parlano d’amor, di primavere, di sogni e di chimere, quelle cose che han nome poesia... Lei m’intende?

Mimì (She is a little hesitant, then decides to speak; sitting throughout) Yes, they always called Mimi, but my real name is Lucia. This story of mine is brief: To linen and silk I embroider, at my home or away... I have a quiet, but happy life, and my pastime is making lilies and roses. I delight in these pleasures. These things have such sweet charm, they speak of love, of Spring, of dreams and visions and the things that have poetic names. Are you understanding me?

Rodolfo Si.

Rodolfo Yes.

Mimì Mi chiamano Mimì, il perchè non so. Sola, mi fo il pranzo da me stessa. Non vado sempre a messa, ma prego assai il Signore. Vivo sola, soletta là in una bianca cameretta: guardo sui tetti e in cielo; ma quando vien lo sgelo il primo sole è mio il primo bacio dell’aprile è mio! Germoglia in un vaso una rosa... Foglia a foglia la spio! Cosi gentile il profumo d’un fiore! Ma i fior ch’io faccio,

Mimì They always call me Mimi, I know not why! All alone I make myself dinner. I don’t attend mass often, but I pray to the Lord frequently. I live by myself, all alone, in my little white room. I look upon the roofs and the sky. But when the thaw comes, the first warmth of the sun is mine, the first kiss of April is mine! In a vase a Rosebud blooms, I watch as petal by petal unfolds, with its delicate fragrance of a

Ahimè! non hanno odore. Altro di me non le saprei narrare. Sono la sua vicina che la vien fuori d’ora a importunare.

flower! But the flowers that I sew, alas, have no fragrance. There’s nothing more I can tell you about myself. I am your neighbour, who knocks at your door so late disturbing you at inopportune moment.

Rodolfo *O soave fanciulla,...

Rodolfo Oh, beautiful maiden,...

...o dolce viso di mite circonfuso alba lunar in te, vivo ravviso il sogno ch’io vorrei sempre sognar! (cingendo con le braccia Mimì)

...Oh, how sweet your face looks, its beauty softly kissed by the gentle moonlight. In you, sweet maiden, I see the dreams of love I have dreamt about forever. (encircling Mimì in his arms)

Mimì (assai commossa) Ah! tu sol comandi, amor!

Mimì (much affected) Ah! Love, only you alone guide us!

Rodolfo Fremon già nell’anima le dolcezze estreme, nel bacio freme amor!

Rodolfo Such sweet love invades my soul. I feel such joy, and love so tender. Our kisses tremble with love.

Mimì (assai commossa) Ah! tu sol comandi, amor! (quasi abbandonandosi)

Mimì (much affected) Ah! Love, only you alone guide us! (Almost letting go)

Mimì Oh! come dolci scendono le sue lusinghe al core... tu sol comandi, amore! (Rodolfo bacia Mimì)

Mimì His gentle sweet words delight me, as they flatter my heart. Love, only you alone guide us! (Rodolfo kisses Mimì)

Mimì (svincolandosi) No, per pietà!

Mimì (freeing herself) No, I beg you!

Rodolfo Sei mia!

Rodolfo You’re mine now.

Mimì V’aspettan gli amici...

Mimì Your friends are waiting.

Rodolfo Già mi mandi via?

Rodolfo You’re sending me away so soon?

Mimì (titubante) Vorrei dir... ma non oso...

Mimì (hesitant) I’d like to say, but dare not.....

Rodolfo (con gentilezza) Di’

Rodolfo (with gentility) Speak!

Mimì (con graziosa furberia) Se venissi con voi?

Mimì (with graceful cunning) What if I came with you?

Rodolfo (sorpreso) Che?... Mimì! (insinuante) Sarebbe così dolce restar qui. C’è freddo fuori.

Rodolfo (surprised) what?... Mimì! (insinuating) It would be nice if we could stay here, outside its cold.

Mimì (con grande abbandono) Vi starò vicina!...

Mimì (with great abandonment) I’ll stay close by you.

Rodolfo E al ritorno?

Rodolfo And when we return?

Mimì (maliziosa) Curioso!

Mimì (mischievously) Wait and find out!

Rodolfo (Aiuta amorosamente Mimì a mettersi lo scialle) Dammi il braccio, mia piccina.

Rodolfo (he tenderly assists Mimì with her shawl) Take my arm, my little one.

Mimì (Dà il braccio a Rodolfo) Obbedisco, signor! (S’avviano sottobraccio alla porta d’uscita)

Mimì (giving her arm to Rodolfo) Sir, I’ll do as you say. (Arm in arm they start towards the door)

Rodolfo Che m’ami di’...

Rodolfo Tell me you love me!

Mimì (con abbandono) Io t’amo! (escono)

Mimì (with abandonment) I love you. (they leave)

Mimì e Rodolfo (di fuori) Amor! Amor! Amor!

Mimì and Rodolfo (from outside) Sweet love! sweet love! sweet love!

TRUSTEES AND STAFF ACTING CHAIR Dr Charles Wiffen BOARD OF TRUSTEES Robert Derry-Evans Tony Howell Andrew Mortimer Mike Ralli Jennifer Skellett Richard Munro ARTISTIC DIRECTOR Jason Thornton GENERAL MANAGER Simone Homes ORCHESTRAL MANAGER Ben Vleminckx CONCERT MANAGER Martin Bax MBE

BATH PHILHARMONIA PATRONS Mr Peter & Mrs Liz Ash Mr Alasdair Campbell Dr Marianna Clark Mr Peter Clegg Mr Rupert Cooper & Ms Hilary Shekleton Mr Michael & Mrs Anne Davis Mr Gavin Douglas Mr Roger & Mrs Mandy Eggleton Miss Jane Glaser Mr Steve & Mrs Fiona Gourley Mr Peter Gunning Mr Roy & Mrs Maureen Hatch

Mr Peter Holland Mrs Sue Howell Mrs Joy Isaac Mrs Gladys Macrae Ms Bel Mooney Mr Peter Morrison Ms Jadis Norman Mr Robert & Mrs Barbara Tan Mr Richard & Mrs Margaret Turner Mr Richard & Mrs Teresa Wharton Mr Nigel Whiskin Mrs Jeannie Willis Capt Brian Woodford



Mr Robert & Mrs Rebecca Derry-Evans Mrs Elaine Marson Mr Andrew & Mrs Katherine Mortimer Mr Graham & Mrs Bridget Wakefield

BATH PHILHARMONIA BENEFACTORS Mr Ian Hay & Mrs Morny Davidson Mrs Margaret Roper Mrs Jennifer Skellett

Mr Tony Doughty Mr Denis & Mrs Tor Gamberoni Rear Admiral & Mrs Austin Lockyer Mr Rod & Mrs Karin Morgan Ms Jill Rowe Mrs Joanna Wiesner MBE

TRUSTS The Roper Family Charitable Trust The Joyce Fletcher Charitable Trust The Brewster Maude Charitable Trust The Oldham Foundation

LEADER Matthew Schrivener VIOLIN I Rosie Wainwright Matthew Everett Claire Parkin Felicity Broome-Skelton Mardyah Tucker Giselle Boll Stephanie Niemira VIOLIN II Gill Austin Kerry Vaughan Lisa Betteridge David Williams Alison Balfour Paul Katy Rowe VIOLAS Richard Cookson Rachel Calaminus Virginia Slater Sophie Broadbent CELLOS Miriam Lowbury Toby Turton Trevor Burley Jonathan Few BASS David Brown Antonia Bakewell FLUTE Ian Mullin Sarah Manship OBOE Victoria Braun Jennie-Lee Keetley CLARINET Stuart King Claire King BASSOON Martin Gatt Lois Au HORN Richard Wainwright Tim Locke Matthew Cooke Jose Lluna TRUMPET Gavin Wells Matt Wells TROMBONE Matt Harrison TIMPANI Jeremy Little PERCUSSION Matt Turner Will Burgess HARP Vicky Lester


Mr Gerry & Mrs Marina Hoddinott Mr Peter Ives & Miss Pat Oakley Mr Robin & Mrs Henny John Mrs Jean King Ms Judy Kinsman Mr Neville D Lintern Mr & Mrs W Mathias Mr Andrew & Mrs Jinny Matters Mrs Rosemary Munro Mr Sam Priestman Mrs Janet Pitt Mr Mike & Mrs Fran Ralli Mrs Teresa Robinson Ms Corinna Sargood & Mr Richard Wallace S Sawyer Mr Alan & Mrs Judy Singleton Mr John & Mrs Marianne Webb Mr Robert & Mrs Molly Worlidge Mr Paul & Mrs Elizabeth Whitehouse

Player’s List

Mrs C E Adams Mr Martin Bell OBE Mrs Diana Bourdon Smith Mrs Shiena Bowen Mrs Joanna Cain Mr Guy & Mrs Jules Channer Mr G Collett Mr Antony Corfe Mr Graham & Mrs Marilyn Cox Mr & Mrs Martin Davis Mrs Kate Elston Mr Philip & Mrs Marie Ennis Mr & Mrs P Franklyn Mr & Mrs J Furber Mr Tony Garrett Mr Peter Goodden Ms Caroline Gosling Mr David Greenwood Mr Philip Harris Sir Robert & Lady Deborah Hill




Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.