Giacomo MEYERBEER (1791-1864)
Romilda E Costanza, melodramma semiserio in due atti (1817)
Teobaldo-Patrick Kabongo (tenor), Retello-Javier Povedano (bass-baritone), Costanza-Eun-Luiza Fatyol (soprano), Romilda-Chiara Brunello (mezzo), Lotario-César Cortés (tenor), Albertone-Emmanuel Franco (bass), Annina-Claire Gascoin (mezzo), Pierotto-Giulio Mastrototaro (baritone), Ugo-Timophey Pavlenko (bass)
Gorecki Chamber Choir
Passionart Orchestra/Luciano Acocella
rec. 17,19,26 July 2019, Trinkhalle, Bad Wilbad, Germany
Booklet with notes and synopsis in English and German, an Italian only libretto is available for download from the Naxos website
First Recording
NAXOS 8.660495-97 [3 CDs: 173:50]
The latest release in the series of recordings from the Rossini in Wilbad Festival is not by The Swan of Pesaro at all but is
rather the first Italian opera that was composed by Giacomo Meyerbeer for performance in Padua in 1817. Prior to this concert the opera had not been heard since the late 1820s. The current recording from live performances is based on a new performing edition of the score that was prepared by Aldo Salvagno from the materials of the Padua premiere.
Meyerbeer’s Italian period lasted for about 14 years, during which time he honed his skills as a composer for the stage. His eventual meteoric successes in Paris with Robert le Diable and all that came afterward pretty much obliterated the increasingly polished operas of his Italian years and even the stunning achievement of his most touching opera, Il Crociatio in Egitto, disappears completely after 1859. While Romilda E Constanza is not on the same emotional level of Il Crociato it certainly has some fine music that shows how completely Meyerbeer had absorbed the early nineteenth century Italian style of composition. His music shows inventiveness and, most importantly, he does not attempt to imitate the Rossini style that was reigning supreme at that period. Hearing the lovely instrumental introductions to Costanza’s First Act cavatina or Romilda’s grand scena in Act Two demonstrate the point. In addition, Meyebeer produces a grand finale to Act One that is distinctly unhackneyed in his approach in contrast to the usual formulaic music we hear in bel canto works. As the ensemble proceeds, Meyebeer veers in a few unexpected directions before arriving at the concluding stretta.
The plot for Romilda E Constanza is your basic rescue opera with a twist. Previous lover, Romilda and current lover, Costanza, attempt to rescue their imprisoned heartthrob, the none-too-reliable Teobaldo in mediaeval Provence. The opera ends happily as Teobaldo does eventually get rescued from his prison and chooses to spend his life with original girlfriend Romilda after all, while Costanza has to cheerfully accept the new reality of life without Teobaldo.
The cast for this recording featured a group of mostly unknown singers as is usually the case for the Rossini in Wilbad Festival. Unfortunately there is a good deal of uneven tone on display from various members of the cast. No one seriously lets their side down although much of the singing would benefit from a stronger sense of individual style. Both of the leading ladies begin somewhat tentatively and they each display a distinct beat on sustained high notes; in the intimate acoustics of the Trinkhalle this can make them sound a bit fierce. Still, both of them gradually warm up to give affecting and involved performances of their major arias. Chiara Brunello in particular has a luscious tonal quality which benefits much of her music; she only runs into trouble on climactic notes. Of the gentlemen, Congolese tenor Patrick Kabongo (Mubenga) has a fine, clear voice with a solid technique. He makes a first rate Teobaldo, which bodes well for a possible future as a star of the bel canto repertoire. The audience certainly cheers him loudly. Giulio Mastrototaro as Pierotto has a basically warm and attractive sound but his upper range is showing some signs of trouble; however, this does not prevent him from delivering a rewarding account of his major aria in Act Two. Luciano Acocella seems to pick his way carefully through the score, rarely delivering the passion or energy which makes bel canto music seem to lift off. Like much of his cast, he seems to grow into it more as the opera progresses and Act Two finds him on a much better footing. The orchestra and chorus perform adeptly for him. In spite of these quibbles, when all things are considered, this album is to be welcomed and Naxos, the Rossini in Wilbad Festival, and the Südwestrundfunk deserve thanks for making this very rare opera available to experience.
Mike Parr
