Cappella Coloniensis / Männerchor des Westdeutschen Rundfunks
CD 1
1 Sinfonia 8.07
Atto primo · Act One · Acte un · Erster Akt
Scena I · Scene 1 · Scène 1 · 1. Szene
N.1 Introduzione:
2 Serenate il mesto ciglio: del destin non vi lagnate 3.05
Eunuchi, Elvira, Zulma, Haly
3 Delle donnne l’arroganza, il poter Mustafà, Zulma, Haly, Elvira, eunuchi
Recitativo: Ritiratevi tutti Mustafà, Zulma, Elvira 4.26
Scena II · Scene 2 · Scène 2 · 2. Szene
4 Recitativo: Il mio schiavo italian farai che tosto venga Mustafà, Haly 2.02
Scena III · Scene 3 · Scène 3 · 3. Szene
5 N.2 Cavatina: Languir per una bella e star lontan di quella Lindoro 7.04
6 Recitativo: Ah, quando fia ch’io possa in Italia tornar? Lindoro, Mustafà 1.19
7 N.3 Duetto: Se inclinassi a prender moglie Lindoro, Mustafà 4.09
Scena IV · Scene 4 · Scène 4 · 4. Szene
N.4 Coro e Cavatina:
8 Quanta roba! Quanti schiavi! Corsari, Haly 1.19
9 Cruda sorte! Amor tiranno! Isabella, corsari 2.35
10 Già so per pratica qual sia l’effetto d’un sguardo languido,
d’un sospiretto Isabella 1.53
11 Recitativo: Già ci siam Isabella, Taddeo, Haly 1.37
Scena V · Scene 5 · Scène 5 · 5. Szene
12 Recitativo: Ah! Isabella… siam giunti a mal partito Taddeo, Isabella 1.25
N.5 Duetto:
13 Ai capricci della sorte io so far l’indifferente Isabella, Taddeo 4.46
14 Ah! no: per sempre uniti, senza sospetto e liti Isabella, Taddeo 3.17
Scena VI · Scene 6 · Scène 6 · 6. Szene
15 Recitativo: E ricusar potresti una sì bella e sì gentil signora? 0.41
Zulma, Lindoro, Elvira
Scena VII · Scene 7 · Scène 7 · 7. Szene
16 Recitativo: Ascoltami, italiano Mustafà, Lindoro 0.57
Scena VIII · Scene 8 · Scène 8 · 8. Szene
17 Recitativo: Dunque degg’io lasciarvi? Elvira, Mustafà, Zulma, Haly 1.33
18 N.6 Aria: Già d’insolito ardore nel petto agitare, avvampare mi sento 3.28
Mustafà
Scena IX · Scene 9 · Scène 9 · 9. Szene
19 Recitativo: Vi dico il ver Zulma, Elvira, Lindoro 1.05
N.7 Finale I:
Scena X · Scene 10 · Scène 10 · 10. Szene
20 Viva, viva il flagel delle donne Eunuchi, Haly, Mustafà 2.45
Scena XI · Scene 11 · Scène 11 · 11. Szene
21 (Oh! che muso, che figura!…) Isabella, Mustafà 4.29
Scena XII · Scene 12 · Scène 12 · 12. Szene
22 Vo’ star con mia nipote Taddeo, Haly, Mustafà, Isabella 2.25
Scena XIII · Scene 13 · Scène 13 · 13. Szene
23 Pria di dividerci da voi, Signore, veniamo a esprimervi il nostro core 3.50
Elvira, Zulma, Lindoro, Isabella, Mustafà, Haly, Taddeo
24 Dite: chi è quella femmina? 2.24
Isabella, Mustafà, Elvira, Zulma, Lindoro, Taddeo, Haly, eunuchi
25 Nella testa ho un campanello 2.57
Elvira, Zulma, Isabella, Lindoro, Haly, Taddeo, Mustafà, eunuchi
CD 2
Atto secondo · Act Two · Acte deux · Zweiter Akt
Scena I · Scene 1 · Scène 1 · 1. Szene
1 N.8 Introduzione: Uno stupido, uno stolto diventato è Mustafà 1.45
Eunuchi, Elvira, Zulma, Haly
2 Recitativo: Haly, che te ne par? avresti mai in Mustafà
creduto un sì gran cangiamento Elvira, Haly, Zulma 0.47
Scena II · Scene 2 · Scène 2 · 2. Szene
3 Recitativo: Amiche, andate a dire all’italiana che io sarò tra mezz’ora
a ber seco il caffè! Mustafà, Zulma, Elvira, Haly 1.28
Scena III · Scene 3 · Scène 3 · 3. Szene
4 Recitativo: Qual disdetta è la mia! Isabella, Lindoro 1.33
5 N.9 Cavatina: Ah, come il cor di giubilo esulta in questo istante Lindoro 2.33
Scena IV · Scene 4 · Scène 4 · 4. Szene
6 Recitativo: Ah! se da solo a sola m’accoglie l’italiana Mustafà, Taddeo 0.59
N.10 Coro, Recitativo ed Aria:
7 [Coro:] Viva il grande Kaimakan Eunuchi 1.01
8 [Recitativo:] Kaimakan! Io non capisco niente Taddeo, Mustafà 0.51
9 [Aria:] Ho un gran peso sulla testa Taddeo, eunuchi 4.14
Scena V · Scene 5 · Scène 5 · 5. Szene
10 Recitativo: (Buon segno pe’l Bey.) Zulma, Elvira, Isabella, Lindoro 2.24
11 N.11 Cavatina: Per lui che adoro Isabella, Mustafà, Taddeo, Lindoro 6.16
Scena VI · Scene 6 · Scène 6 · 6. Szene
12 Recitativo: Io non resisto più: quest’Isabella è un incanto
Mustafà, Lindoro, Taddeo 1.20
N.12 Quintetto:
13 Ti presento di mia man ser Taddeo Kaimakan 6.20
Mustafà, Isabella, Taddeo, Lindoro
14 Ehi!… Caffè… Isabella, Lindoro, Mustafà, Taddeo, Elvira 4.16
Scena VII · Scene 7 · Scène 7 · 7. Szene
15 Recitativo: Con tutta la sua boria questa volta il Bey perde la testa Haly 0.25
16 N.13 Aria: Le femmine d’Italia son disinvolte e scaltre Haly 2.24
Scena VIII · Scene 8 · Scène 8 · 8. Szene
17 Recitativo: E tu speri di togliere Isabella dalle man del Bey? 1.13
Taddeo, Lindoro
Scena IX · Scene 9 · Scène 9 · 9. Szene
18 Recitativo: Orsù: la tua nipote con chi crede d’aver che far? 1.04
Mustafà, Lindoro, Taddeo
N.14 Terzetto:
19 Pappataci! Che mai sento! Mustafà, Lindoro, Taddeo 3.42
20 Fra gli amori e le bellezze Lindoro, Taddeo, Mustafà 2.29
Scena X · Scene 10 · Scène 10 · 10. Szene
21 Recitativo: E può la tua padrona credere all’italiana Haly, Zulma 0.50
Scena XI · Scene 11 · Scène 11 · 11. Szene
22 Recitativo: Tutti i nostri italiani ottener dal Bey spera Isabella? 0.38
Taddeo, Lindoro
N.15 Coro, Recitativo e Rondò:
23 [Coro:] Pronti abbiamo e ferri e mani per fuggir con voi di qua
Schiavi italiani
[Recitativo:] Amici, in ogni evento m’affido a voi Isabella 2.53
24 [Rondò:] Pensa alla patria Isabella, schiavi italiani 6.05
Scena XII · Scene 12 · Scène 12 · 12. Szene
25 Recitativo: Che bel core ha costei! Taddeo, Mustafà 0.42
N.16 Finale II:
Scena XIII · Scene 13 · Scène 13 · 13. Szene
26 Dei Pappataci s’avanza il coro Lindoro, Pappataci, Taddeo, Mustafà 3.39
Scena XIV · Scene 14 · Scène 14 · 14. Szene
27 Non sei tu che il grado eletto brami aver di Pappataci? 6.37
Isabella, Mustafà, Pappataci, Lindoro, Taddeo
Scena XV · Scene 15 · Scène 15 · 15. Szene
28 Son l’aure seconde, son placide l’onde 1.42
Marinari, schiavi, Lindoro, Isabella, Taddeo, Mustafà
Scena XVI · Scene 16 · Scène 16 · 16. Szene
29 Mio signore… — Mio marito… — Cosa fate? 1.21
Zulma, Haly, Elvira, Mustafà, Isabella, Lindoro, Taddeo, Italiani
30 Andiamo… — Buon viaggio… 1.07
Isabella, Lindoro, Taddeo, Elvira, Zulma, Mustafà, Haly, coro
SYNOPSIS
Act One
CD 1 2 In the Palace of Mustafà, the Bey of Algiers, the Bey’s wife Elvira complains to her confidante, Zulma, that her husband no longer loves her. The palace eunuchs attempt to console her, telling her that it is the fate of all women in the Orient to live a life of suffering. Haly, the captain of the Bey’s corsairs, announces Mustafà. 3 The Bey arrogantly interrupts his wife when she tries to placate him and tells her bluntly that he is tired of her. He then dismisses the whole court, with the exception of Haly.
4 Mustafà reveals his plans to Haly: Elvira is to marry his Italian slave, Lindoro, while he himself, bored by his languishing odalisques, demands a spirited Italian woman for himself. He orders the reluctant Haly to find one within six days.
5 Lindoro, who has been in the Bey’s service for three months, longs for his innamorata in distant Italy. 6 Mustafà tells him of his plan to marry him off to Elvira. 7 Taken aback, Lindoro attempts to wheedle his way out of the situation by listing the demands he makes on a wife, but the Bey ignores his objections, leaving Lindoro at his wit’s end.
8 Meanwhile, a ship has been wrecked on the nearby shore. Haly’s corsairs rejoice in their splendid spoils and draw their captain’s attention to one particularly fine specimen of womankind among their female prisoners. 9–10 It is Isabella, who had put to sea in search of her lover, Lindoro. She soon recovers from her initial shock since she knows, after all, how best to handle men. 11 Among her companions is an elderly admirer by the name of Taddeo, whom she passes off as her uncle and in this way persuades the corsairs to allow them to remain together. When Haly leams that Isabella and Taddeo are from Italy, he is delighted to be able to promise her an illustrious future as the jewel of Mustafà’s harem. 12 –14 Beside himself with jealousy, Taddeo objects to this plan, but Isabella is angered only by his importunity. Faced with the fact that they still need one another in their difficult situation, they are soon reconciIed to each other again.
15–17 Mustafà tells Lindoro that he will be allowed to return to Italy if he takes Elvira with him. Lindoro agrees: he would do anything to get away from Algiers.
Haly arrives with news of the capture of a ravishing Italian beauty and 18 the Bey is immediately fired with feelings of desire for the unknown woman. Impatiently he orders Elvira and Zulma to leave for Italy without delay. Haly is instructed to fetch Isabella.
19 Lindoro urges Elvira to leave with him, but she hesitates since she still loves Mustafà and would like to see him one last time.
20 In a splendid hall in the palace the eunuchs praise Mustafà as “the scourge of women”. 21 –22 When Isabella is brought in, all are dazzled by her beauty. She uses her cunning and flattery to beguile the enchanted Mustafà and, at the same time, manages to save Taddeo, who is on the point of being impaled by Haly and his corsairs.
23 Elvira, Zulma and Lindoro come to take their leave of Mustafà. Isabella and Lindoro are astonished to recognise each other, a reaction which leaves the others perplexed. 24 But, with her customary skill, Isabella masters the situation and, as proof of the Bey’s love, demands that Elvira remain in Algiers and that Lindoro become her valet de chambre. 25 The act ends in general confusion.
Act Two
CD 2 1–2 Elvira, Zulma, Haly and the eunuchs derive malicious pleasure from the way in which Mustafà is being made to look a fool by the capricious Isabella. 3 The Bey enters and orders Elvira and Zulma to inform Isabella that he would like to take coffee with her in half an hour.
4 Meanwhile Lindoro convinces Isabella that he has remained true to her. They arrange a meeting in order to plan their escape. 5 Lindoro is happy to have found Isabella and to have placated her.
6–9 In order to show Isabella how much he honours her, Mustafà has appointed her “uncle” Taddeo his grand Kaimakan. With great pomp and ceremony and numerous displays of honour in keeping with his new status, Taddeo is kitted out in Turkish dress, including the statutory turban, and Mustafà himself presents him with a sabre as part of his regalia. For Taddeo, the whole ceremony is deeply tiresome, but since the altemative remains the stake, he reluctantly falls in with the plan.
10 Elvira brings Isabella news of the Bey’s impending visit. Isabella is incensed at Elvira’s submissiveness and tries to teach her how to handle men. ! Aware that Mustafà is watching her, she puts on her finest jewels “for the man she adores”, causing not only Mustafà but her two other admirers to go into raptures.
12 Beside himself with impatience, Mustafà demands that lsabella be brought in; Taddeo is instructed to remain behind only so long as decency demands it and then to leave as soon as he hears Mustafà sneeze. 13 lsabella enters, and Mustafà proudly introduces her “uncle” as the grand Kaimakan of Algiers, before sneezing politely a couple of times. But Taddeo has no intention of leaving. Isabella and Lindoro amuse themselves at the other’s expense. $ Finally, she gives orders for coffee to be served and cunningly invites Elvira to join them. Mustafà seethes with impotent rage. 15 –16 When all the others have left, Haly muses, commenting on the foregoing developments and the wiles of Italian women.
17 In order to prevent the jealous Taddeo from frustrating their plans to flee, Lindoro initiates him into at least a part of their secret. Taddeo is convinced that Isabella is doing everything out of love for him.
18 Lindoro pacifies the deeply wounded Mustafà and tells him in confidence that Isabella is consumed by love for him. In order to show how much she honours him, she has decided to appoint him her “Pappataci” (literally: “eat and say nothing”). ( Flattered by the news, Mustafà asks the meaning of the honour, ) whereupon Lindoro and Taddeo explain that all a Pappataci has to do is to love women, sleep, eat and drink — in short, to enjoy himself. Mustafà is delighted.
21–22 The Italian slaves set about the elaborate preparations for the Pappataci ceremony, which is also planned to coincide with their flight from the palace. 23 –24 Isabella tells Lindoro and her fellow countrymen to be brave. 25 Taddeo is moved by the thought that Isabella is risking so much out of love for him.
26–27 Finally the splendid ceremony begins. Mustafà swears to obey all the rules of the order, faithfully repeating everything that Taddeo reads out to him: he will eat and drink and pay no attention to whatever is going on around him. Isabella and Lindoro immediately put him to the test by engaging in a display of tender affection. Enraged, Mustafà attempts to intervene, but Taddeo shows him how a true Pappataci should behave: he eats and says nothing. The enthusiastic Bey follows his example.
28 Meanwhile the Italian slaves arrive in a ship beneath the palace loggia. Taddeo finally realizes that lsabella loves Lindoro and attempts in vain to disabuse the Bey, who is now fully inside his role as Pappataci. In the end Taddeo resigns himself to accompanying the lovers back to Italy — a fate marginally preferable to being impaled in Algiers.
29–30 Elvira, Zulma and Haly enter and finally manage to open Mustafà’s eyes, but it is already too late. He calls on his eunuchs to help him, but Isabella has rendered them all insensible with drink, leaving the Bey with no altemative but to admit defeat. He tums contritely to Elvira as his true love and bids the departing Italians a safe journey homewards.
Barbara Bode