Over the years Opera
Rara has contributed more than any other
label in recording, either complete
or as part of various anthologies, a
significant number of the sixty to seventy
of Donizetti�s operatic works. My only
regret about their list of complete
Donizetti operas is that only one has
merited a highlights issue. That is
Rosmondo D�Inghilterra featuring
Renée Fleming as Rosmondo. It
includes extensive extracts of her delectable
singing (ORR 214). However, Donizetti
arias, ensembles and overtures have
featured in a number of single disc
issues from the company. These include
their series �A Hundred Years of Italian
Opera� and recitals by house singers
such as Della Jones (ORR 203). Spread
as they are over several CDs it is not
really feasible for the opera enthusiast
to get a feel for the evolution of the
composer�s style from these diverse
sources. This compilation allows for
just that in the same way that Opera
Rara�s recent issues titled �Meyerbeer
in Italy� (ORR
222) and �Mercandante Rediscovered�
(ORR
226) have done.
Just how many operas
Donizetti wrote is open to interpretation
and even dispute. The invaluable �Masters
of Italian Opera� from New Grove lists
67 titles. Some existed in more than
one edition or revision with significant
musical alterations or additions. What
is certain is that it wasn�t until Anna
Bolena in 1830 that Donizetti achieved
European recognition and a measure of
economic security. Prior to that he
had written 29 operatic works, often
at a rate of three or four each year.
In the brief booklet essay the influence
of Simone Mayr on the composer�s career
is mentioned but nothing of the background
that moulded Donizetti�s character and
music.
Born in Bergamo, Italy,
Gaetano was the fifth of six children
of parents living in considerable poverty.
He came under the influence and patronage
of the composer Simone Mayr, who lived
in the town. Mayr had persuaded a local
charitable institution to open a free
musical school, primarily to train choirboys,
but also to impart a well-grounded musical
education. On its opening in 1808, the
young Gaetano was one of its first pupils,
attending until 1814. He won many prizes
and, being a high-spirited student,
several reprimands also! Mayr, believing
that the young Donizetti�s horizons
needed expanding, paid for his transfer
to Bologna where he studied counterpoint.
In late 1817, Donizetti returned to
Bergamo and with Mayr's help landed
a contract to compose four operas for
Venice. His first real success came
in Rome in 1822, again following an
opportunity afforded by Mayr who turned
over his own contract to his pupil.
This success was quickly followed by
operas for Naples and other Italian
cities.
This issue features
extracts from Donizetti�s first publicly
performed, but third operatic work,
Enrico di Borgogna (tr. 4) of
1818, through to his seventeenth Gabriella
di Vergy of 1826. As the brief booklet
note points out, that although the young
composer had to write in the prevailing
manner he was manifestly eager to break
out from that milieu. I regret that
Opera Rara has not facilitated easy
appreciation of Donizetti�s development
by putting the extracts in chronological
sequence of composition. I would also
have liked the Act 1 cavatina from Zoraida
(tr. 7) to precede the Act 1 finale
(tr. 5). I suspect the reason for the
track sequences as set out is to split
ensemble and duet selections with solo
items.
As to performance,
Opera Rara hasn�t always been able to
cast the likes of Renée Fleming
in its recordings. However, throughout
its twenty odd years of existence, it
has built up and used a formidable list
of house singers. Outstanding is the
vibrant mezzo voice of Della Jones in
Elisa! Elisa! Oh! me infelice from Enrico
di Borgogna (tr. 4) and the contributions
of Diana Montague as soloist in Era
mia from Zoraida (tr. 7) and
in ensemble. It is a joy also to hear
Yvonne Kenny�s high secure soprano in
the trio from Chiara e Serafina (tr.
6) and in the 1828 variant of Emelia
di Liverpool (tr. 12) and where
the spelling became �Liwerpool�. The
accurate and wide-ranging tenor Bruce
Ford is heard in two solos (trs. 3 and
11). All these are considerable singers
bringing their artistry to lesser works
of a great composer learning his craft
in a highly competitive Italy.
Although the individual
dates are not given, the recordings
are of a very high and uniform standard.
This is a significant achievement given
that I know the recording dates and
venues to be diverse and well spread.
The booklet, whilst giving no words
or translations, does provide a plot
summary and details of the compositional
circumstances for each of the operas
concerned.
This CD should be
on the shelves of ever lover of Donizetti�s
works and Italian opera in general.
It provides a unique opportunity of
hearing, on one disc, the development
of Donizetti�s style in his early works
and career. Highly recommended.
Robert J. Farr
Philharmonia Orchestra; Academy of St Martin in
the Fields; Royal Philharmonic Orchestra; London
Philharmonic Orchestra 
