Programme Notes: Theatrical Operatic Fusion, April 6, 2025

Orchestra Toronto
Program Notes: Concert 4

Donizetti: Sinfonia from Don Pasquale

Gaetano Donizetti’s Don Pasquale (1843) is a masterpiece of Italian opera buffa, blending sparkling wit with lyrical elegance. The opera tells the story of an aging bachelor who is tricked into a sham marriage, leading to a series of comedic mishaps. The Sinfonia (Overture) perfectly captures this playful spirit, beginning with a stately introduction before launching into light, effervescent melodies characteristic of Donizetti’s bel canto style. Though it does not directly reference themes from the opera, the overture hints at its playful spirit through nimble orchestration, rapid mood shifts, and bright, rhythmic charm—setting the stage for the comedy and heartfelt drama to follow.

Verdi: Prelude to Rigoletto

The Prelude to Rigoletto (1851) is striking in its brevity and intensity, immediately plunging the audience into the opera’s dark and tragic world. It opens with brooding, ominous chords in the lower strings, foreshadowing the fate of the cursed court jester, Rigoletto. This somber theme represents the curse placed upon him, a man whose cruelty and mockery ultimately lead to the downfall of his beloved daughter, Gilda. A contrasting lyrical passage follows, serving as a tender motif associated with Gilda’s innocence—a stark juxtaposition to the opera’s grim events. Within just a few minutes, Verdi masterfully establishes the opera’s central themes of fate, vengeance, and doomed love.

Verdi: Pari siamo & Figlia!…Mio padre!…..Ah! veglia, o donna
Pari siamo is a pivotal monologue in Rigoletto, revealing the title character’s bitter self-reflection. After meeting the assassin Sparafucile, Rigoletto acknowledges their shared corruption—Sparafucile kills with a blade, while Rigoletto destroys with words as the Duke’s cruel jester. The music is restless and dark, mirroring his internal turmoil and foreshadowing the opera’s tragic arc.

This tension gives way to Figlia!…Mio padre!…..Ah! veglia, o donna, one of the opera’s most emotionally charged duets. In this exchange, Rigoletto’s hardened exterior softens as he transitions from jester to loving father. He warns his daughter, Gilda, of the dangers around her, while she remains blissfully in love with the Duke. The duet’s tender phrases and warm harmonies contrast with the opera’s otherwise harsh musical landscape, yet an undercurrent of unease remains, foreshadowing the devastating events to come.

Verdi: Overture to I vespri siciliani

Premiered at the Paris Opéra in 1855, I vespri siciliani tells the story of the 13th-century Sicilian uprising against French rule. The opera’s overture is one of Verdi’s most dramatic and structurally ambitious, reflecting its grand historical scale. It opens with solemn brass fanfares, evoking the weight of political oppression, before launching into a vigorous allegro section driven by swirling strings and relentless energy. Verdi weaves together several key themes from the opera, offering a glimpse of its sweeping drama, lyrical beauty, and patriotic fervor. 

Verdi: O magnanima e prima - La pia materna mano

Composed in 1849 during the height of the Italian Risorgimento, La Battaglia di Legnano is one of Verdi’s most overtly patriotic operas, reflecting the nationalistic fervor of the time. The story follows Italian warriors fighting against foreign invaders, paralleling the contemporary struggle for unification.

This Act I duet between Arrigo and Lida is charged with emotional intensity. Believing himself betrayed, Arrigo confronts Lida, who is trapped in an unwanted marriage, and their exchange is filled with longing, anger, and conflict. The orchestration swells with urgency, mirroring Arrigo’s heartbreak and Lida’s internal turmoil. Verdi’s signature soaring melodies and dramatic harmonic shifts heighten the stakes, making this duet a powerful moment of personal and political tension within the opera.

Verdi: Sì, vendetta 

One of Rigoletto’s most electrifying moments, Sì, vendetta is a fiery duet between Rigoletto and his daughter, Gilda. After discovering that the Duke of Mantua has seduced Gilda, Rigoletto is consumed by rage and swears vengeance. The music surges with intensity, as sharp rhythms and forceful vocal lines underscore his fury. In contrast, Gilda’s melodies are softer and sorrowful, reflecting her conflicted emotions—she still loves the Duke despite his betrayal. This contrast between Rigoletto’s seething wrath and Gilda’s reluctant acceptance heightens the dramatic tension, foreshadowing the tragic events that will soon unfold.

Wagner: Prelude to Die Meistersinger

Unlike Wagner’s typically dark and mythological dramas, Die Meistersinger von Nürnberg (1868) is a humanistic celebration of art, tradition, and love. The prelude is a brilliantly structured orchestral piece that introduces key themes from the opera. It opens with a stately, noble theme representing the Meistersinger guild, followed by a flowing, lyrical melody that embodies artistic inspiration and romance. Wagner’s masterful use of counterpoint and rich orchestration gives the music a sense of grandeur and momentum, reflecting the opera’s central themes of artistic mastery and innovation.

Wagner: Winterstürme wichen dem wonnemond 

This aria from Die Walküre (1870) is one of Wagner’s most radiant and lyrically expressive love songs. Sung by Siegmund as he embraces Sieglinde, his long-lost twin sister, the music evokes the warmth of spring’s arrival and the passion of newfound love. Flowing with tender, glowing melodies, the orchestration is lush yet intimate, creating a rare moment of warmth within the epic Ring Cycle. Unlike much of Wagner’s dense harmonic language, this aria is relatively diatonic, making it one of the composer’s most immediately appealing romantic passages.

Wagner: Ride of the Valkyries

One of the most famous and instantly recognizable orchestral pieces in history, Ride of the Valkyries (1870) is the exhilarating battle cry of the Valkyries, warrior maidens who escort fallen heroes to Valhalla. Its relentless rhythmic drive, powerful brass fanfares, and sweeping string lines create a sense of unstoppable momentum, making it one of Wagner's most thrilling moments. 

An interesting aspect of Ride of the Valkyries is its powerful association with both opera and popular culture. While it is widely known for its use in films and television—perhaps most famously in Apocalypse Now, the piece was originally written as part of Wagner's monumental Ring Cycle. It’s a pivotal moment in Die Walküre, representing the Valkyries’ fearless role in the mythological narrative. The Valkyries themselves are symbolic of fate and destiny, and the music encapsulates their strength and determination. The famous fanfares and sweeping strings serve to convey their swiftness and divine purpose, making it one of the most stirring and dramatic orchestral excerpts in all of opera.

Delibes: Bell Song

The Bell Song from Léo Delibes’ Lakmé (1883) is a dazzling showpiece aria that showcases the soprano’s exceptional agility and vocal precision. Sung by the opera’s title character, the aria features rapid coloratura runs, high, bell-like notes, and shimmering orchestration that imitates the chime of bells. Inspired by the period's fascination with exoticism, the piece incorporates pentatonic scales, further enhancing its captivating sound. It remains a staple of the soprano repertoire, celebrated for its virtuosity and evocative charm.

Bizet: Au fond du temple saint

Au fond du temple saint is one of the most cherished and iconic duets in opera, from Georges Bizet’s Les Pêcheurs de Perles (1863). Set in ancient Ceylon, the opera explores themes of love, betrayal, and friendship. This duet occurs between two childhood friends, Nadir and Zurga, who recall their first encounter with the priestess Leïla. Their shared longing for her, as well as the bond of friendship that unites them, is beautifully expressed through the intertwining vocal lines and lush, flowing harmonies.

The music’s ethereal quality, with its dreamlike sense of nostalgia, contrasts with the opera’s dramatic undercurrent of unrequited love and duty. The piece is often praised for Bizet’s deft use of orchestration and vocal interplay, which enhances the emotional depth of the moment. In the context of the opera, the duet occurs early on and sets the stage for the emotional conflict that will unfold, making it a pivotal moment. Au fond du temple saint remains one of the most beloved pieces in the opera repertoire, and is a testament to Bizet's ability to blend lyricism and drama.

Bernstein: Glitter and Be Gay 

Leonard Bernstein’s Glitter and Be Gay (1956) is one of the most famous arias from his operetta Candide. Sung by the character Cunegonde, the aria is a sharp, satirical commentary on her luxurious yet morally questionable existence. It is a virtuosic coloratura showpiece, combining operatic complexity with the energy and flair of Broadway. The aria captures Cunegonde’s irony as she feigns delight in her gilded life, despite its underlying emptiness.

Candide itself, based on the novella by Voltaire, is a satirical exploration of optimism and the human condition. Within this larger narrative, Glitter and Be Gay serves as a commentary on Cunegonde’s compromised moral choices, while showcasing Bernstein’s signature ability to fuse operatic and Broadway influences. The aria is beloved for its vocal challenges, wit, and its striking mix of comedy and pathos, solidifying it as one of the standout pieces in the musical theatre and operatic repertories.

Puccini: Nessun dorma 

Nessun dorma is one of opera’s most famous arias, sung by Prince Calaf in the final act of Puccini’s Turandot. In the aria, Calaf declares his determination to win the heart of the cold Princess Turandot, despite the deadly challenge she has set before him. The soaring melody builds in intensity, culminating in a triumphant high B that symbolizes not only his victory but the hope he holds for love, even in the face of great adversity.

The aria’s grandeur and emotional depth have made it a cornerstone of the tenor repertoire. Nessun dorma encapsulates themes of hope, perseverance, and the transformative power of love, resonating with audiences worldwide. It’s a showpiece for tenors and remains one of Puccini’s most enduring and emotionally powerful moments in his operatic works.

Verdi: Libiamo

Libiamo ne’ lieti calici, the famous drinking song from Verdi’s La Traviata, is a lively and exuberant toast to love and life. Sung by Violetta and Alfredo at a Parisian soirée, the aria's vibrant waltz rhythm and buoyant melodies underscore the fleeting joy of their romance. The song’s lightheartedness and charm contrast sharply with the opera’s tragic themes, encapsulating the bittersweet nature of their love affair.

As one of Verdi’s most beloved ensemble numbers, Libiamo is celebrated for its infectious melody and sparkling energy. The piece, while a jovial celebration of love, carries an underlying sense of impending doom, as the characters’ exuberant joy is set against the tragic trajectory of Violetta’s life. The aria has become a quintessential operatic drinking song, known for its catchy tune and its ability to capture the essence of both festivity and heartbreak.