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25 January
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Choral concert
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Stabat Mater
Rossini
Thursday
26 January
19 H

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Haendel
February 2023
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19 February
15 H

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Andrea Chénier
Giordano
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21 February
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Giordano
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23 February
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Giordano
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25 February
20 H

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Andrea Chénier
Giordano
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Friday
10 March
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Recital
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Daniel Barenboim
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17 March
20 H (Gala)

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Verdi
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19 March
15 H

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20 March
20 H

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21 March
20 H

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23 March
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La traviata
Verdi
April 2023
Sunday
16 April
15 H

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Il barbiere di Siviglia
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Monday
17 April
20 H

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Tuesday
18 April
20 H (Gala)

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Il barbiere di Siviglia
Rossini
Thursday
20 April
20 H

Opera
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Il barbiere di Siviglia
Rossini
Saturday
22 April
20 H

Opera
Il barbiere di Siviglia
Rossini
Rossini
Stabat
Mater
25 January 2023
Choral concert
Director Gianluca Capuano
Choirmaster Stefano Visconti

Rossini Stabat Mater

Choral concert
Wednesday 25 January 2023 - 20 h
Opéra de Monte-Carlo

Music by Gioachino Rossini (1792-1868) 
Premiere: Paris, Salle Ventadour, 7 January 1842

What tenor with a secure high D flat could resist singing the “Cujus animam” from Gioachino Rossini’s Stabat Mater at some point in his career? And the fact that the aria No. 8 of this liturgical work, “Inflammatus et accensus”, was sung by such sacred monsters as Kirsten Flagstad and Birgit Nilsson, makes one quickly understand that Rossini, although he had stopped writing operas more than 10 years before conceiving this work, could not help composing true vocal jewels that might just as easily have found their place in a splendid five-act opera!

From its first performance at the Salle Ventadour in Paris in 1842, Rossini’s Stabat Mater aroused the enthusiasm of the crowds. Although Richard Wagner and some German critics found his music too secular for a sacred subject, the rest of Europe did not hold back its delight and has loved the work to this day.

The Stabat Mater is also a perfect opportunity for a choir to show the many facets of its talent. Under the direction of Stefano Visconti, the Monte Carlo Opera Choir will prove that it not only shines when on stage, but that it also possesses the suppleness which the sacred and concert repertoire require.

Videos

1 ©OMC - Cassette Vidéo
Production team
Conductor | Gianluca Capuano
Choirmaster | Stefano Visconti
Cast
Soprano | Maria Agresta
Contralto | Varduhi Abrahamyan
Tenor | Celso Albelo
Bass | Ildebrando D'Arcangelo
MONTE CARLO OPERA CHOIR

MONTE CARLO PHILHARMONIC ORCHESTRA
Artists' biographies
Artistic and technical teams

Les maîtres d'œuvre

Chef d'orchestre
Gianluca capuano

Chef de chœur
stefano visconti

solistes

Soprano
maria agresta

Mezzo-soprano
varduhi abrahamyan

Ténor
celso albelo

Basse
ildebrando d'arcangelo

CHŒUR DE L’OPÉRA DE MONTE-CARLO

Sopranos I
Galina BAKALOVA
Antonella CESARIO
Vittoria GIACOBAZZI*
Giorgia GIULIO*
Chiara IAIA
Mariko IIZUKA*
Mariia KOMAROVA*
Vittoria MAGNARELLO*
Giovanna MINNITI
Felicity MURPHY
Paola VIARA-VALLE

Sopranos II
Rossella ANTONACCI
Marialucia CARUSO
Valérie MARRET
Letizia PIANIGIANI
Laura Maria ROMO CONTRERAS

Mezzo-sopranos
Francesca BARGELLINI*
Teresa BRAMWELL-DAVIES
Francesca COPERTINO*
Matilde LAZZARONI*
Géraldine MELAC
Suma MELLANO
Federica SPATOLA

Altos
Maria-Elisabetta DE GIORGI
Eleonora LUE*
Tania PACILIO*
Catia PIZZI
Janeta SAPOUNDJIEVA
Paola SCALTRITI
Rosa TORTORA

Ténors I
Walter BARBARIA
Lorenzo CALTAGIRONE
Jaime Andrés CANTO NAVARRO*
Domenico CAPPUCCIO
Andrea CIVETTA*
Vincenzo DI NOCERA
Thierry DIMEO
Nicolo LA FARCIOLA
Jérémy PALUMBO*

Ténors II
Gianni COSSU
Pasquale FERRARO
Benoît GUNALONS*
Fabio MARZI
Marco Angelo MÜLLER*
Adolfo SCOTTO DI LUZIO
Salvatore TAIELLO

Barytons
Fabio BONAVITA
Yoonsung CHOI*
Vincenzo CRISTOFOLI
Daniele DEL BUE
Hazar MURSITPINAR*
Kyle Patrick SULLIVAN*
Luca VIANELLO

Basses
Andrea ALBERTOLLI
Stefano ARNAUDO*
Przemyslaw BARANEK
Paolo MARCHINI
Max MEDERO*
Edgardo RINALDI
Matthew THISTLETON

*choristes supplémentaires pour ce concert

ORCHESTRE PHILHARMONIQUE DE MONTE-CARLO

Directeur artistique et musical
KAZUKI YAMADA

Premiers violons
DAVID LEFÈVRE
LIZA KEROB
SIBYLLE DUCHESNE 
ILYOUNG CHAE
NICOLE CURAU DUPUIS 
GABRIEL MILITO
SORIN TURC
MITCHELL HUANG 
THIERRY BAUTZ
ZHANG ZHANG
ISABELLE JOSSO
MORGAN BODINAUD 
MILENA LEGOURSKA
JAE-EUN LEE
ADELA URCAN
DIANA MYKHALEVYCH

Seconds violons
PÉTER SZÜTS
NICOLAS DELCLAUD 
CAMILLE AMERIGUIAN-MUSCO
FRÉDÉRIC GHEORGHIU 
NICOLAS SLUSZNIS 
ALEXANDRE GUERCHOVITCH
GIAN BATTISTA ERMACORA 
LAETITIA ABRAHAM 
KATALIN SZÜTS-LUKÁCS 
ERIC THOREUX
RALUCA HOOD-MARINESCU 
ANDRIY OSTAPCHUK

Altos
FRANÇOIS MÉREAUX 
FEDERICO ANDRES HOOD 
FRANÇOIS DUCHESNE 
CHARLES LOCKIE 
RICHARD CHAUVEL 
MIREILLE WOJCIECHOWSKI
SOFIA TIMOFEEVA 
TRISTAN DELY
RAPHAËL CHAZAL
YING XIONG
THOMAS BOUZY 
RUGGERO MASTROLORENZI

Violoncelles
THIERRY AMADI 
DELPHINE PERRONE 
ALEXANDRE FOUGEROUX 
FLORENCE RIQUET 
BRUNO POSADAS 
THOMAS DUCLOY 
PATRICK BAUTZ 
FLORENCE LEBLOND 
THIBAULT LEROY 
CAROLINE ROELAND

Contrebasses
MATTHIAS BENSMANA 
TARIK BAHOUS
THIERRY VERA
MARIANA VOUYTCHEVA 
JENNY BOULANGER 
SYLVAIN RASTOUL
ÉRIC CHAPELLE
DORIAN MARCEL

Flûtes
ANNE MAUGUE 
RAPHAËLLE TRUCHOT BARRAYA
DELPHINE HUEBER

Piccolo
MALCY GOUGET

Hautbois
MATTHIEU BLOCH
MATTHIEU PETITJEAN 
MARTIN LEFÈVRE

Cor anglais
JEAN-MARC JOURDIN

Clarinettes
MARIE-B. BARRIÈRE-BILOTE 
VÉRONIQUE AUDARD

Petite clarinette
DIANA SAMPAIO

Clarinette basse
PASCAL AGOGUÉ

Bassons
FRANCK LAVOGEZ 
ARTHUR MENRATH 
MICHEL MUGOT

Contrebasson 
FRÉDÉRIC CHASLINE

Cors
PATRICK PEIGNIER 
ANDREA CESARI 
DIDIER FAVRE 
BERTRAND RAQUET 
LAURENT BETH 
DAVID PAUVERT

Trompettes 
MATTHIAS PERSSON 
GÉRALD ROLLAND 
SAMUEL TUPIN 
RÉMY LABARTHE

Trombones
JEAN-YVES MONIER 
GILLES GONNEAU 
LUDOVIC MILHIET

Tuba
FLORIAN WIELGOSIK

Timbales
JULIEN BOURGEOIS

Percussions 
MATHIEU DRAUX

Harpe
SOPHIA STECKELER

Stabat Mater, the genesis and the work
About the Stabat Mater

It is the most famous and spectacular of the three great sacred pages composed by Rossini that Cecilia Bartoli has chosen to launch a series of concerts devoted to highlighting the work of the choir. With the help of four international soloists under the baton of Gianluca Capuano at the head of the Monte Carlo Philharmonic Orchestra, the Opera's choristers will have the opportunity to showcase their skills thanks to the meticulous preparation of their master, Stefano Visconti.

 

In 1831, three years after his early retirement from the stage following the premiere of Guillaume Tell, Rossini began work on the Stabat Mater as a favour to a Spanish prelate on condition that it remain his exclusive property and never be published. He completed only six numbers and Giovanni Tadolini took on the rest. This joint work was performed only once, on Good Friday in 1833, in Madrid. In 1837, the prelate died and his heirs sought to monetise the score. Fearing that someone else's music would be published under his name, Rossini put the work back on the table. On 7 January 1842, the definitive Stabat Mater was triumphantly premiered at the Théâtre des Italiens.

 

The sequence of the medieval Mass of the Dead is divided into ten numbers. The soloists each have their moment of glory, as in an opera. The "Cujus animam" is a favourite of the tenors. The "Inflammatus", in which the chorus accompanies the solo soprano in a raging painting of the flames of Hell, is the dramatic climax of the score. But other numbers, notably the two a cappella choruses and the pompous final fugue, remind the listener of the sacred side of this fascinating score.

A few words with…

Stefano Visconti

Two words about the Monte Carlo Opera Chorus…

We have a seasonal chorus with 40 singers, mainly from Italy. Depending on repertoire requirements and the venue, where our performances take place, I increase the number to 80-90. I have been choirmaster in Monte Carlo for 15 years, and have tried to implement a certain continuity regarding our choir’s sound standards.

 

Often, the work of an opera chorus covers symphonic and sacred repertoire as well.

 

Choir concerts or concerts where a choir forms part of the cast are absolutely fundamental to our art! We are very lucky that from time to time we may participate in the symphonic seasons of the Orchestre Philharmonique de Monte-Carlo, and over the years we got to sing some rare and interesting repertoire. It is wonderful that this genre will now be integrated in the Monte Carlo Opera’s season and that the chorus can show the Opera’s audience its own identity.

 

What are some of the differences between singing in opera and in concert?

First of all, it is incredibly enriching to sing both! The greatest differences are that in opera the music has to be memorized, and the choir also acts, i.e. is constantly moving about, which has a great impact on sound and precision. Since they usually sing by heart and in movement, opera choruses are mentally extremely flexible. When preparing a concert, we work intensely on musical detail because the chorus will be set in a fixed position on the platform, and I can place my singers in a way that makes the choir appear regular and even. We adjust the balance, search for an evenness of sound and softness in tone: concert work makes choristers musically flexible and malleable.

 

Please tell us a little about Rossini’s Stabat Mater?

I adore this work and am delighted to work on it for the first time! In this piece Rossini shows a great sensibility and spirituality, and what might surprise listeners is the fact that he did not use any music from previous compositions… I feel that he did not worry about any prescribed rules concerning the sacred genre, however. It seems that he simply let the text inspire him as he went along, section by section. This is why there is so much stylistic variety in this mass.

Rossini's Stabat Mater, the tercets
I - Introduction (solistes et chœur)
Tercet 1
Stabat mater dolorosa
Debout, la mère des douleurs
Juxta crucem lacrymosa
Près de la croix était en pleurs
Dum pendebat Filius.
Quand son Fils pendait au bois.
II - air (ténor)
Tercets 2, 3 et 4
Cujus animam gementem
Alors, son âme gémissante
Constristantem et dolentem
Toute triste et toute dolente
Pertransivit gladius.
Un glaive la transperça.

O quam tristis et afflicta
Qu’elle était triste, anéantie,
Fuit illa benedicta
La femme entre toutes bénie,
Mater unigeniti.
La Mère du Fils de Dieu !

Quae morebat et dolebat
Dans le chagrin qui la poignait,
Et tremebat cum videbat
Cette tendre Mère pleurait
Nati poenas inclyti.
Son Fils mourant sous ses yeux.
III – duo (soprano et mezzo-soprano)
Tercets 5 et 6
Quis est homo qui non fleret
Quel homme sans verser de pleurs
Christi matrem si videret
Verrait la Mère du Seigneur
In tanto supplicio?
Endurer si grand supplice 

Quis non posset contristar
Qui pourrait dans l’indifférence
Piam matrem contemplari
Contempler en cette souffrance
Dolentem cum Filio?
La Mère auprès de son Fils ?
IV - air (basse)
Tercets 7 et 8
Pro peccatis suae gentis
Pour toutes les fautes humaines,
Vidit Jesum in tormentis,
Elle vit Jésus dans la peine 
Et flagellis subditum.
Et sous les fouets meurtris.

Vidit suum dulcem natum
Elle vit l’Enfant bien-aimé 
Morientem, desolatum
Mourir tout seul, abandonné,
Dum emisit spiritum.
Et soudain rendre l’esprit.
V - chœur et récitatif a cappella (baryton et chœur)
Tercets 9 et 10
Eja Mater, fons amoris!
O Mère, source de tendresse,
Me sentire vim doloris
Fais-moi sentir grande tristesse 
Fac, ut tecum Iugeam.
Pour que je pleure avec toi.

Fac ut ardeat cor meum
Fais que mon âme soit de feu
In amando Christum Deum
Dans l’amour du Seigneur mon Dieu :
Ut sibi complaceam.
Que je lui plaise avec toi.
VI - quatuor (solistes)
Tercets 11, 12, 13, 14 et 15
Sancta Mater, istud agas,
Mère sainte, daigne imprimer
Crucifixi fige plagas
Les plaies de Jésus crucifié
Cordi meo valide.
En mon cœur très fortement.

Tui nati vulnerati
Pour moi, ton Fils voulut mourir,
Tam dignati pro me pati
Aussi donne-moi de souffrir
Paenas mecum divide.
Une part de ses tourments.

Fac me vere tecum flere,
Pleurer en toute vérité
Crucifixo condolere,
Comme toi près du crucifié 
Donec ego vixero
Au long de mon existence.

Juxta crucem tecum stare
Je désire auprès de la croix
Te libenter sociare
Me tenir, debout avec toi,
In planctu desidero
Dans ta plainte et ta souffrance.

Virgo virginum praeclara,
Vierge des vierges, toute pure,
Mihi iam non sis amara.
Ne sois pas envers moi trop dure,
Fac me tecum plangere.
Fais que je pleure avec toi.
VII - cavatina (mezzo-soprano)
Tercets 16 et 17
Fac ut portem Christi mortem,
Du Christ fais-moi porter la mort,
Passionis fac consortem
Revivre le douloureux sort
Et plagas recolere.
Et les plaies, au fond de moi.

Fac me plagis vulnerari,
Fais que ses propres plaies me blessent,
Cruce hac inebriari,
Que la croix me donne l’ivresse
Ob amorem Filii.
Du sang versé par ton Fils.
VIII - air et chœur (soprano 1)
Tercets 18 et 19
Inflammatus et accensus,
Pour que je ne brûle point des flammes éternelles,
per te Virgo, sim defensus
Ô Vierge, protégé par toi,
In die judicii.
Je sois au jour du jugement.

 Fac me cruce custodiri,
Christ lorsqu’il me faudra sortir de ce monde,
Morte Christi praemuniri,
Permets que conduit par ta mère,
Conforevi gratia.
J’accède à la palme de la victoire.
IX - chœur a cappella
Tercet 20
Quando corpus morietur,
À l’heure où mon corps va mourir,
Fac ut animae donetur
Fais que soit donné à mon âme
Paradisi gloria.
La gloire du Paradis.
X – chœur
Amen.
Ainsi soit-il.
In sempiterna saecula, Amen.
Maintenant et pour l’éternité, ainsi soit-il.