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With the release of Zazà, we mark our first recording venture into the musical world of Leoncavallo and the operatic tradition of verismo. Maurizio Benini – Opera Rara’s Associate Conductor – leads... read more

Song title Time Format Price
playstop01 Introduzione30/12/1899 01:59:00
playstop02 Brava! Brava!30/12/1899 01:09:00
playstop03 Stasera sono in voce!30/12/1899 01:40:00
playstop04 Salute, ragazzi30/12/1899 01:40:00
playstop05 Buona sera, mia Zazà!30/12/1899 03:00:00
playstop06 Lo sai tu che vuol dire un uom che fugge30/12/1899 02:04:00
playstop07 Tu sei buona30/12/1899 00:47:00
playstop08 Augusto, buona sera!30/12/1899 03:56:00
playstop09 Ah! Ah! Ahi, la, la!30/12/1899 03:24:00
playstop10 Ebben, Zazà?30/12/1899 01:19:00
playstop11 Un uomo sol restavaci30/12/1899 01:45:00
playstop12 Dufresne, contarvene voglio una bella30/12/1899 01:19:00
playstop13 È un riso gentile30/12/1899 02:14:00
playstop14 Allor tutto va bene!30/12/1899 01:15:00
playstop15 Non so capir perché se m'ami tu30/12/1899 00:57:00
playstop16 Ma bravi! Che delizia!30/12/1899 01:10:00
playstop17 Signore, entrate30/12/1899 03:25:00
playstop18 Ripetiamo... Ma prima vo' cambiar veste30/12/1899 01:36:00
playstop19 Vi duole?30/12/1899 02:16:00
playstop20 Su Zazà!30/12/1899 00:36:00
playstop21 A te, Cascart...30/12/1899 03:31:00
playstop22 È deciso: tu parti per questo gran viaggio?30/12/1899 03:00:00
playstop23 Zazà, Zazà, no ti attristare30/12/1899 03:08:00
playstop24 Or tempo e baci per guadagnare30/12/1899 02:39:00
playstop25 Fa presto, Natalia!30/12/1899 02:25:00
playstop26 Ecco gli stivaletti, signora...30/12/1899 01:30:00
playstop27 Zazà!...30/12/1899 01:29:00
playstop28 Ehm! Ehm!30/12/1899 03:34:00
playstop29 Ah, ah, ah! Che quadretto!30/12/1899 01:36:00
playstop30 Cascart, mio camerata30/12/1899 01:27:00
playstop31 Buona Zazà30/12/1899 05:59:00
playstop32 A Parigi una sera30/12/1899 03:55:00
playstop33 Ah! Perche soletta sei laggiù?30/12/1899 02:59:00
playstop34 O mio piccolo tavolo30/12/1899 04:53:00
playstop35 Ecomi pronta, Milio...30/12/1899 01:52:00
playstop36 Lei dunque è la signora Dunoyer?30/12/1899 00:49:00
playstop37 Qual turbamento!30/12/1899 03:14:00
playstop38 Signora, buona signora30/12/1899 01:42:00
playstop39 Signorina, vi abbiamo spaurita?30/12/1899 03:09:00
playstop40 Mamma usciva di casa30/12/1899 03:59:00
playstop41 È finita!30/12/1899 03:41:00
playstop42 È mammà30/12/1899 03:22:00
playstop43 Così, nessuna nuova?30/12/1899 02:41:00
playstop44 Figliuola mia!30/12/1899 03:28:00
playstop45 Zazà, piccola zingara30/12/1899 03:47:00
playstop46 Che?... Noon vorresti farlo?30/12/1899 01:39:00
playstop47 Per buona sorte tutto è a suo posto...30/12/1899 05:28:00
playstop48 Che notizie mi pori da Parigi?30/12/1899 02:17:00
playstop49 Ebbene si, so tutto!30/12/1899 03:32:00
playstop50 Zazà, tu mi rimproveri30/12/1899 03:58:00
playstop51 Questo delitto hai compiuto?30/12/1899 01:51:00
playstop52 Ed ora io mi domando30/12/1899 01:41:00
playstop53 Basta! Ritorna pur nella tua dimora30/12/1899 01:01:00
playstop54 Che ho fatto?30/12/1899 02:45:00
With the release of Zazà, we mark our first recording venture into the musical world of Leoncavallo and the operatic tradition of verismo. Maurizio Benini – Opera Rara’s Associate Conductor – leads the BBC Symphony Orchestra and Ermonela Jaho in her recording debut as the eponymous Zazà. Jaho is joined by Riccardo Massi as her lover Milio; Stephen Gaertner as her onstage partner and former lover Cascart; and Patricia Bardon as her mother Anaide. Written in 1900 for the Teatro Lirico di Milano and conducted at its première by Toscanini, Zazà was Leoncavallo’s most popular opera after Pagliacci. In the 20 years following its première, Zazà received over 50 new productions in opera houses around the world and became the chosen showcase for famous sopranos such as Rosina Storchio, who created the role, and Geraldine Farrar. With its infectious dance tunes and colourful orchestration making use of French popular music styles which Leoncavallo would have encountered in the capital, the verismo of Zazà is a far cry from the harsh, low-life realism of Pagliacci. Yet, where the composer’s first opera remains one of the most performed operatic works today, Zazà has all but fallen out of the repertory. Opera Rara’s revival of Zazà is based on Leoncavallo’s own 1919 revision of his score which has been carefully researched by Maurizio Benini.
Ermonela Jaho (Zaza); Riccardo Massi (Milio); Stephen Gaertner (Cascart); Patricia Bardon (Anaide); David Stout (Bussy); Nicky Spence (Courtois); Kathryn Rudge (Natalia); Simon Thorpe (Duclou); Fflur Wyn (Floriana); Julia Ferri (Toto); Renato Balsadonna, Chorus Director; BBC Singers, Maurizio Benini - conductor
Act 1 The Alcazar in Saint-Étienne, the 1890s. The curtain rises on the backstage area of a music hall, the Alcazar. A stage band is intermittently heard accompanying various acts in the Alcazar’s main auditorium, almost all of which remain out of sight. Zazà is the star of the establishment while Floriana is her rival. The act as a whole is punctuated by the entrance and exit of characters who converse with Zazà. These include Duclou, the stage manager; Cascart, a fellow singer who launched Zazà’s modest career and used to be her lover; Natalia, her maid; Anaide, her alcoholic mother; Bussy, a journalist with whom Zazà wagers she will be able to seduce a man named Milio Dufresne, and Milio himself, an international businessman on whom Zazà has set her sights. Milio is at first reluctant to make advances towards Zazà because he believes people of his social status should avoid wild, mad passion, but as the act progresses he loses his will to resist her blatant advances and when she least expects it, embraces her with tender kisses. Zazà is ecstatic, so much so that she fails to enter on cue for a duet with Cascart. The audience at the Alcazar must wait until she has regained her composure. Act 2 Zazà’s apartment in Saint-Étienne, some time later. Zazà has fallen completely in love with Milio. He is about to depart for America but Zazà protests so much that he promises to postpone the trip. Milio instead leaves for Paris; he tells Zazà he will return shortly. Anaide and Cascart both call on Zazà. Anaide has a hunch her daughter’s new romance is a bad idea; Cascart, meanwhile, has seen Milio with another woman at a theatre in Paris. When he discloses this to Zazà she resolves to track him down and rushes out the door with her maid Natalia in tow. Act 3 The drawing room in Milio’s home in Paris, a short time later. At his desk, Milio contemplates his imminent return to Saint-Étienne, where he wants to see Zazà one last time before he departs for America with his family. He leaves the house with his wife, who tells the butler, Marco, that a Madame Dunoyer will call shortly. Zazà arrives at the house in search of evidence that Milio has a lover. The butler asks if she is Madame Dunoyer. Zazà pretends that she is, and is therefore allowed to enter with Natalia. While waiting in the drawing room for Milio to return, Zazà sees a letter addressed to a Madame Dufresne and thus learns that Milio has not a mere sweetheart, but a wife. Milio’s daughter, Totò, enters the drawing room moments later. Zazà is moved to tears by the beautiful child, who converses with her and performs a Cherubini Ave Maria at the piano. Madame Dufresne returns, embarrassed to find the strangers in her home; Zazà claims that she came to the house by accident, says a tender goodbye to Totò, and leaves without breathing a word about her romance with Milio. Act 4 Zazà’s apartment in Saint-Étienne, a short time later. Zazà has been absent from the Alcazar and the impresario Courtois is concerned about declining box-office receipts. He asks Anaide about Zazà’s whereabouts. Zazà, however, soon enters in a daze; her maid Natalia and Cascart follow. The latter tries to comfort Zazà but also reminds her she must release Milio because his sole duty is to his family. Unaware that Zazà visited his home in Paris, Milio returns to Saint-Étienne. Zazà embraces him and they lunch together, but an incensed Zazà quickly reveals that she knows he has a family. Milio asks her not to reproach him for loving her so madly that he risked an affair. Zazà however tells him she went to his home and met his family; what is more, she falsely claims she told his wife about their romance. In anger, Milio reveals his true colours: he calls Zazà a slut and not until he learns the truth about her interaction with his wife does he feel remorse. Mindful that Totò needs her father, Zazà dismisses him from her life.