Not being an opera-lover the name of Ettore Panizza was unknown
to me until I received this CD. I imagine that I am not alone
here so a little biographical information might be useful. Born
in Buenos Aires in 1875, Panizza made his debut as assistant conductor
at the Rome Opera when only 22. He was most closely associated
with La Scala, Milan, the Royal Opera House in London, New York’s
Met and the Teatro Colón in Buenos Aires. Interestingly, when
Toscanini conducted the premiere of Puccini’s Turandot he stopped
at the point where Puccini ceased writing, thus allowing Panizza
to be the first to conduct the opera as completed by Alfano. Panizza
was also a composer of four operas:
Il fidanzato del mare
(1897),
Madioevo Latino (1900),
Aurora (1908) reportedly
his most successful work, and
Bizanzio (1939). He published
an autobiography (Medio Siglo de Vida Musical) in 1952 and died
in his home town as recently as 1967.
According to the brief notes, by Mark Obert–Thorn, on the rear
inlay, it appears that Panizza made very few records, as was fairly
typical at the time. His complete recorded output could be contained
on less than three CDs. Almost all his recordings were made at
La Scala and were of operatic music. This CD contains the sole
exceptions – concert music and a recording made at the Teatro
Colón.
So to the Mendelssohn. It is obvious from these few performances
that Panizza was a fine conductor for here are well rehearsed
and performed interpretations of two masterpieces of the concert
repertoire and a delightful trifle. The
Hebrides Overture
receives a fine reading, full of a salty sea tang and with a very
tempestuous climax as the waves beat against the shore. This is
a very good performance, with very little portamento. I would
have expected more for this period, and apart from the occasional
rather dull thud, which is the timpani, the sound is very good
indeed. The
Italian Symphony really sparkles here. The
first movement races along at a reasonable tempo, and despite
a couple of moments of scrappiness in the strings, no doubt brought
about by the tempo, this is good stuff. The pilgrims’ march of
the second movement is nicely paced, and the third movement has
a delightfully restrained swagger, making it perfect for dancing.
The final
saltarello is taken at a slower speed than is
usual, but it is still full of Mediterranean fire, and after the
side join the tempo increases slightly. I found his to be a most
satisfying account of this wonderful Symphony, and it’s as good
as any, historical or otherwise, because it has such a marvellously
musical logic to it. The
Wedding March from the incidental
music to
A Midsummer Night’s Dream receives a solid performance.
There’s not much more you can do with this piece.
What’s going to draw listeners to this CD is not the Mendelssohn,
good though it is, but these six excerpts from Felipe Boero’s
opera
El Matrero, recorded within weeks of the world premiere,
with the original cast. Mark Obert–Thorn believes that one reason
for this recording was that the great Italian baritone Apollo
Granforte was making his debut at the Teatro Colón in this season.
I don’t think that we need worry about the plot. Pristine Audio
doesn’t give one with the CD but a synopsis is available on their
website, and it probably isn’t important anyway. The first excerpt
–
La Media Caña – is almost entirely orchestral, a kind
of dance interlude, and it’s quite delightful, reminiscent of
the music for film which later composers were to create for the
wild west. The sung excerpts show an opera written in a very straightforward
style, with moments of delightful Americana and passages of obvious
Italian influence. Whilst it probably was the availability of
Apollo Granforte who brought about this recording, I have to admit
to having more than an admiration for the glorious mezzo of Nena
Juarez, a rich and fruity voice, free from affectation and a fine
melodic instrument.
The transfers are excellent, only a very slight amount of surface
noise has been retained throughout all the recordings. I am sure
that this is essential in order to keep the upper register fresh
and full of bloom, as it is here. This is a fascinating disk and
not just for the collector of historical re–issues or the opera
fanatic. Here is the work of an almost forgotten conductor whose
meagre catalogue has been overlooked for too long. I welcome this
chance to celebrate the work of Ettore Panizza.
Bob Briggs
Pedro Mirassou (tenor), Nena Juarez (mezzo), Apollo Granforte (baritone),
Orchestra of La Scala, Milan/Ettore Panizza (Mendelssohn); Orquestra
del Teatro Colón, Buenos Aires/ Ettore Panizza (Boero) 