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CHAN 3044
Great Operatic Arias, Vol. 6 - John Tomlinson

Great Operatic Arias, Vol. 6 - John Tomlinson

The Classical Shop
release date: October 2000

Originally recorded in 2000

Artists:

Philharmonia Orchestra


David Parry


John Tomlinson

bass

Venue:

Blackheath Halls, London



Producer:

Brian Couzens



Engineer:

Ralph Couzens


Richard Smoker

(Assistant)

Record Label
Opera In English

Genre:

Vocal & Song


Opera in English

Total Time - 76:49
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Great Operatic Arias, Vol. 6 - John Tomlinson

 

GEORGE FRIDERIC HANDEL

(1685-1759)
Select Complete Single Disc for
1 

Polyphemus' Recitative and Air from Acis and Galatea

4:43
  'I rage, I rage, I rage, I melt, I burn!' -  
  'O ruddier than the cherry'  
 

WOLFGANG AMADEUS MOZART

(1756-1791)
2 

Osmin's Song from The Abduction from the Seraglio, Act 1

2:57
  'When a maiden takes your fancy'  
  (Wer ein Liebchen hat gefunden)  
3 

Osmin and Blonde's Duet from The Abduction from the Seraglio, Act II

3:46
  'I am going, but take my advice'  
  (Ich gehe, doch rate ich dir)  
  with Helen Williams soprano  
4 

Pedrillo and Osmin's Duet from The Abduction from the Seraglio, Act II

2:20
  'Vivat Bacchus! Long live Bacchus!'  
  (Vivat Bacchus! Bacchus lebe!)  
  with Barry Banks tenor  
 

GEORGE FRIDERIC HANDEL

5 

Harapha's Air from Samson, Act II

6:29
  'Honour and arms scorn such a foe'  
 

GIUSEPPE VERDI

(1813-1901)
6 

Fiesco's Aria from Simon Boccanegra, Prologue

6:19
  'A last farewell I bid you'  
  (A te l'estremo addio) -  
  'My soul is torn with suffering'  
  (Il lacerato spirito)  
  with Geoffrey Mitchell Choir  
 

MODEST PETROVICH MUSSORGSKY

(1839-1881)
7 

Mephistophele's Song of the Flea from Goethe's 'Faust'

3:37
  'There lived a king of old'  
  (Zhil bil korol kogdato)  
 

ALEXANDER PORFIRYEVICH BORODIN

(1833-1887)
8 

Prince Igor's Aria from Prince Igor, Act II

8:00
  'No rest, no slumber'  
  (Ni sna, ni otdikha)  
9 

Galitsky's Aria from Prince Igor, Act I

4:07
  'The Prince has drunk his fill?' -  
  'The sober life'  
  (Greshno tait)  
  with Geoffrey Mitchell Choir  
10 

Khan Konchak's Aria from Prince Igor, Act II

5:42
  'Igor, listen'  
  (Zdorov, li Knaz?)  
 

ALEXANDER SERGEYEVICH DARGOMYZHSKY

(1813-1869)
11 

Miler's Song from Russalka, Act I

4:06
  'Like every maiden in the whole of Russia'  
  (Okh, toto vse vi devky molodiye)  
 

GIUSEPPE VERDI

12 

Silva's Scena and Cavatina from Ernani, Act I

7:09
  'Can I believe it?'  
  (Che mai vegg'io!) -  
  'Vain illusion! When I believed her'  
  (Infelice! . . . e tu credevi)  
  with Geoffrey Mitchell Choir  
 

LIZA LEHMANN

(1862-1918)
13 

Myself when young from In a Persian Garden

3:43
  'Myself when young did eagerly frequent'  
 

ARTHUR SULLIVAN

(1842-1900)
14 

The Mikado's Song from The Mikado, Act II

4:30
  'A more humane Mikado'  
  with Geoffrey Mitchell Choir  
 

JACQUES OFFENBACH

(1819-1880)
15 

Gendarmes' Duet from Geneviève de Brabant

2:45
  'We're public guardians bold yet wary'  
  with Andrew Shore baritone  
 

ARTHUR SULLIVAN

16 

Policeman's Song from The Pirates of Penzance, Act II

2:37
  'When a felon's not engaged in his employment'  
  with Geoffrey Mitchell Choir  
   
  Bonus track  
 

MODEST PETROVICH MUSSORGSKY

17 

Boris's Prayer from Boris Godunov, Prologue, Scene 2 (The Coronation Scene)

3:59
  'My soul is sad'  
  (Skorbit dusha!)  
  Chorus of Opera North  
  Choristers of Leeds Parish Church  
  English Northern Philharmonia  
  Paul Daniel  
  (from CHAN 3007)  
Internationally acclaimed bass John Tomlinson performs a powerful selection of arias ranging from Mozart and Borodin to Sullivan.

John Tomlinson is a very popular and well-respected soloist performing with all the major opera companies in the UK and abroad. This solo disc is his seventh appearance in the Opera in English series.

This disc continues his recordings on Opera in English available at mid-price, with 24-bit recording technology.

Chandos’ groundbreaking series is the most extensive collection of Opera in English recordings ever undertaken and is set to continue with many excellent recordings of both complete operas and solo recitals planned for the future.



Handel’s basses, when not subsidiary characters, can be like Polyphemus in Acis and Galatea and like Harapha in Samson: blustering blaggarts. Mozart too wrote important bass roles: for the benevolent mage, the stern father and the ferocious blusterer who was to be viewed in humorous fashion.

The bass role in Ottocento opera seria was typically a noble, authoritative ruler, a grave priest, or a loving, possibly severe father. Silva in Ernani is an exception: the bass lover – one of the three men, the tenor, the baritone and the bass – who seek the heroine’s hand. Fiesco, the grieving father from Simon Boccanegra, was from the start designated a primo basso profondo role.

The Miller in Russalka, one of Chaliapin’s favourite roles, opens the opera in jolly, opéra-comique vein giving his daughter some worldly advice. Offenbach’s Geneviève de Brabant first appeared in 1859. The ‘couplets des deux hommes d’armes’ was added for a revival in 1867. The censor tried to stop it, but was persuaded that only medieval, not modern, policemen were being mocked, and the duet became the hit of the show.

Many composers have set the ‘Song of the Flea’ from Goethe’s Faust. Mussorgsky’s setting was his last song, composed little more than a year before his death. Commentators have often regretted that this product of his disordered, alcoholic final years should become his best-known song.

The Pirates of Penzance opened on New Year’s Eve 1879 and was an immediate hit; ‘A policeman’s lot’ was regularly encored. The Mikado appeared at the Savoy Theatre in March 1885. The song ‘A more humane Mikado’ was nearly cut and only survived thanks to a company protest. On the first night and often thereafter it was encored.

Borodin began Prince Igor in 1869 and at his death in 1887 was still unfinished. Liadov, Rimsky-Korsakov and Glazunov all contributed to the score, which had its first performance in 1890. Liza Lehmann’s In a Persian Garden is a cycle of thirteen songs selected from FitzGerald’s The Rubáiyát of Omar Khayyám and had its first performance in 1896.



‘John Tomlinson… is undeniably authoritative and persuasive.’
American Record Guide on CHAN 3017(2) (Mary Stuart)

‘John Tomlinson’s Ochs projects the text with enormous relish…’
The Telegraph on CHAN 3022 (Der Rosenkavalier (highlights))

John Tomlinson is one of the finest singing actors on the opera scene today. He is unsurpassed in Wagner, but here he displays his versatility and his exemplary diction in a highly eclectic programme of arias in English…
BBC Music Magazine

‘A strong voice, varied repertoire and vivid characterization make this an appealing disc’.
Gramophone

‘John Tomlinson… is a credibly horrible Sparafucile.’
Classic CD on CHAN 3030(2) (Rigoletto)

The versatility of John Tomlinson is breathtaking'
The Guardian



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