Gioachino ROSSINI (1792-1868)
Rossini in 1819
Ermione, tragic opera (azione tragica) in two Acts
La donna del lago, operatic melodrama in two Acts
Bianca e Falliero, operatic melodrama in two Acts
rec. 2000-2009, Henry Wood Hall, London, UK
OPERA RARA CLASSICS ORB2 [8 CDs: 614 mins]
Only few months ago, in late 2021, Opera Rara reissued three of Donizetti’s opere serie in the first release in its Classic series: Il diluvio universal, Ugo, Conte di Parigi and L'assedio di Calais, as a limited-edition box set
Donizetti in the 1830s. This follow up Classic series release is an eight-CD set, entitled ‘Rossini in 1819’, featuring recordings which have been out of the catalogue for a number of years. All three were premiered less than ten months apart in 1819 - although Rossini actually had four operas premiered in 1819; Eduardo e Cristina, which is not part of the label’s catalogue, was premiered to acclaim just weeks after the failure of Ermione.
After Rossini’s death in 1868, each of the three operas three featured here quickly disappeared from the repertoire. When Opera Rara released these recordings in 2001, 2007, 2010 respectively, the revivals delighted admirers of bel canto and Rossini; most of the leading singers are renowned bel canto specialists, notably mezzo-soprano Jennifer Larmore, tenor Gregory Kunde, soprano Carmen Giannattasio, basso cantabile Ildebrando D’Arcangelo, mezzo-soprano Patricia Bardon and tenor Barry Banks.
Rossini had achieved international recognition by 1819. His opera seria, Tancredi, had been premiered in Venice to considerable acclaim in 1813, as had his comedy L’italiana in Algeri introduced a few weeks later. Also successful was Elisabetta, regina d’Inghilterra, given in 1815 in Naples but Rossini’s enduring fame was sealed with Il barbiere di Siviglia, his comic masterpiece premiered in 1816 in Rome.
His twenty-seventh opera, Ermione, was first of the three operas to be premiered here and is a tragic opera (azione tragica) in two acts. It uses Leone Tottola’s Italian libretto adapted from playwright Jean Racine’s tragedy Andromaque (1667). Premiered in March 1819 at the Teatro San Carlo, Naples, despite the celebrated Spanish born prima donna Isabella Colbran (who became Rossini’s wife in 1822) creating the eponymous role, it was poorly received for reasons not entirely clear and was withdrawn after only a handful of performances. By 1819, Rossini had reached the pinnacle of his innovative creativity and one wonders if Ermione, a dark-hued work that spits rage, by not following follow the expected traditions was too daring for the audiences of the day. It was almost one hundred and sixty years before Ermione was next heard in a concert performance in 1977 at Sienna. Despite its initial failure, it is today hailed by some commentators as a masterwork; one reviewer expresses the view that Ermione is one of the greatest Italian operas of the nineteenth century. Another agreed and went further by asserting it may even be one of the greatest ever operas, which is some claim.
Based on legend drawn from Greece mythology Ermione’s libretto is set in Epirus in ancient Greece after the fall of the city of Troy by the victorious Greek army who hold the Trojans captive. Ermione is betrothed to Greek king Pirro of Epirus who rejects her for Andromaca a Trojan prisoner. Wanting revenge for his betrayal, Ermione arranges Pirro’s murder. This tense psychological drama is one of Rossini’s bleakest and most disconcerting operas. First released by Opera Rara in 2010, Ermione was especially well received and in 2011 the set won the Gramophone Opera Award.
Spurned by Pirro and betrothed to Oreste the eponymous heroine is sung by Italian soprano Carmen Giannattasio. She is fearsomely impulsive and we see her emotions switch from undying love to disquieting fury; I wonder if today Ermione might be described has having bipolar affective disorder. My highlight is Ermione’s demanding gran scena from Act Two which includes the aria Essa corre al trionfo! with Giannattasio giving one hundred percent in her expression of clashing emotions: she has been betrayed by Pirro, yet would rather die than lose him.
South African tenor Colin Lee takes the role of Oreste. He comes across as a paranoid character who loves Ermione but has been rejected. and complies with Ermione’s order to murder Pirro.
A noted Rossinian tenor with an Italianate vocal style, Lee is in captivating form, especially in Oreste’s Act One scene Reggia aborrita!… Che sorda, al mesto pianto complete with much pertichini (interjections) from his friend Pilade.
Singing the role of Andromaca, the widow of the warrior Hector of Troy, is Irish mezzo-soprano Patricia Bardon. Undoubtedly Andromaca’s character is drawn as the most balanced of the principal roles. From early in Act One Bardon, a dark toned mezzo, stands out with Andromaca’s Mia delizia! un solo istante. Singing with focus and rapt expression, as a prisoner Andromaca is permitted only limited time with her baby son Astianatte (Astyanax) and one can feel her pain as she takes him from his cot to embrace him. Andromaca’s mood quickly switches with Sposo! Ettore! io ti perdei! bewailing the death of her husband Hector and how only Astianatte gives her life purpose, a woman in crisis so convincingly portrayed by Bardon.
English lyric tenor Paul Nilon has the role of Pirro, the wicked, self-centred King of Epirus. Holding Andromaca as his prisoner, Pirro wants her to be his wife. What should be a glorious duet between Pirro and Andromaca Ombra del caro sposo! Is spoilt by Nilon’s reprise of the words Se scudo which he screeches out from his top with all his might - an errant couple of seconds that for me spoils the tenor’s otherwise excellent performance. The comprimario roles have been well chosen; Bülent Bezdüz stands out as Pilade, Loïc Félix equips himself well as Attalo, and Graeme Broadbent is splendid as Fenicio, as is Rebecca Bottone as Cleone.
Although I have heard the Geoffrey Mitchell Choir give better performances, its singing here, despite a few unison difficulties, certainly doesn’t let the side down. An experienced guide in this repertoire, David Parry conducts with a strong feeling for this Rossinian tragedy and the London Philharmonic Orchestra is pleasingly responsive. Such an impressive opera Ermione deserves to be much better known, especially in a performance as fine as this.
Following the success of his opera Eduardo e Cristina in April 1819 in Venice, Rossini turned to La Donna del lago (The Lady of the Lake) based on sections of Sir Walter Scott’s epic narrative poem The Lady of the Lake (published 1810) and set in Scotland. Rossini was inspired by Scott’s tale, which he had read in a French translation. Prepared by Leone Tottola the Italian libretto concentrates on the love story contained in Scott’s poem. Rossini’s La Donna del lago was first opera to be based on a work by Scott. A great appetite for Scott’s literary work had developed throughout Europe, and by 1840 in the Italian language alone there were a minimum of twenty-five operas adapted from works by the Edinburgh writer.
La Donna del lago is undoubtedly a favourite work of mine. It was premiered in September 1819 at the Teatro San Carlo, Naples. It calls for four first-rate soloists and it was soprano Isabella Colbran who created the lead role of Elena. It was a popular work until around 1860 when it disappeared from the repertoire for almost one hundred years until a revival in 1958.
It is set in the Scottish Highlands around Loch Katrine in the Trossachs during the sixteenth century. During the rule of Giacomo (King James V of Scotland) there is much discontent and King James checks on his lands disguised as nobleman, Uberto di Snowdon, and hopes to meet the renowned beauty Elena (the Lady of the Lake). The heroine Elena (Ellen) is daughter of Duglas (Douglas) of Angus, now a rebel who formerly taught King James. Disguised as Uberto, he falls in love at first sight with Elena. Uberto is in a complicated situation for Rodrigo (Roderick) of Dhu, the rebel chief of the Highland Clan is betrothed to Elena although she actually loves Malcom a young rebel warrior.
In 2016 I prepared a review of La Donna del lago directed by Paul Curran on an Erato Blu-ray. It was filmed live at the Metropolitan Opera, New York and I was bowled over by its quality, Curran’s staging and the exceptional talents of leading cast members Joyce DiDonato (Elena), Juan Diego Flórez (Giacomo - James V, King of Scotland), Daniela Barcellona (Malcolm, a male travestì role) and John Osborn (Rodrigo). Although nowhere as starry as the above cast for the Curran staging, for this live Edinburgh recording of La Donna del lago Opera Rara chose a well-balanced cast that was energised for the project.
As with Ermione, it was renowned soprano Isabella Colbran who created the title role. Italian soprano Carmen Giannattasio in the role of Elena here doesn’t sound especially girlish; nevertheless, I find her portrayal compelling. From early in Act One Giannattasio revels in the captivating aubade Oh mattutini albori! demonstrating Elena’s yearning desire to be reunited with her beloved Malcom yet fearing the possibility that he won’t return. A crucial part of the opera’s concluding scene in the throne room of the King’s palace is Elena’s renowned showpiece aria Tanti affetti in tal momento followed by her celebrated caballeta Fra il padre e fra l’amante. In noticeably fluid voice and projecting splendidly, Giannattasio takes her high notes adeptly and her coloratura display is most effective. In this remarkable closing scene, Elena expresses her delight as the King shows his mercy by pardoning Duglas and Malcom, and unexpectedly gives his blessing for her marriage by joining together her hand with Malcom’s. The result is a jubilant occasion for all, as Scotland is finally at peace.
Rossini wrote some of his finest music for Giovanni David a leading Italian tenor of the day who created the role the role of Giacomo (King James V of Scotland) disguised as Uberto. Here, American tenor Kenneth Tarver, an experienced Rossinian, takes that role. In Act One, Giacomo, disguised as the huntsman Uberto, sees Elena for the first time as she disembarks from her skiff at the loch and is totally captivated by her innocent beauty. Pretending to be lost, he asks her for directions, and she offers to row him across the lake. My favourite moment comes at the start of act two as Giacomo, disguised as Uberto, sees Elena sheltering near a grotto. In his cavatina Oh fiamma soave, Uberto sings of how he is braving mortal danger just to glimpse her, as his love for her is blind. Tarver sings the cavatina beautifully and confers a sense of vulnerability upon Uberto. He certainly has a strong mid-range, but I do not feel that Tarver is entirely comfortable with the coloratura.
Uberto and Elena’s moving Act One duet Scendi nel piccol legno is an outstanding moment in the opera; Tarver and Carmen Giannattasio imbue the dialogue with real sensitivity. Another highlight is their duet Alla ragion, deh rieda from Act Two, when Uberto declares his love for Elena, whereas what she wants is his friendship. Captivated by her beauty, Uberto tries to kiss her. Their duet develops into an exciting trio Misere mie pupille when Rodrigo appears at the hill camp and the two tenors confront each other in a highly charged vocal swordfight decorated with breath-taking high Cs. Celebrated mezzo-soprano Joyce DiDonato once described this spectacular trio as ‘one of the most thrilling moments, I think, in all of opera’. This extraordinary trio certainly works impressively here with Tarver, Giannattasio and Gregory Kunde providing an exciting performance rich in drama.
American tenor Gregory Kunde sings the role of Rodrigo of Dhu, chief of the Highland Clan. In Act One, assembled on the moor for his arrival, Rodrigo is wildly acclaimed by his brave clan warriors with the chorus Qual rapido torrente. In Eccomi a voi, Rodrigo declares himself defender of Scotland’s honour and Kunde’s heroic rallying cry for the warriors to fight on the battlefield for the love of their country certainly convinces me they are force to be reckoned with. Following is Ma dov’è colei and one can hear the emotion in Kunde’s voice in his portrayal of Rodrigo looking all around the gathering of clan warriors for Elena, declaring that even the slightest glimpse of his betrothed would set his heart racing. This is most attractive singing by Kunde, who is notable for his smoothly delivered tone which is complemented by his splendid high notes.
Brave young warrior Malcom Graeme who has joined highland rebels, the subject of Elena’s love, is a trouser role taken by Irish mezzo-soprano Patricia Bardon. Unlike Uberto and Rodrigo, Malcom is not as openly passionate, but less demonstrative and more thoughtful. In Act One, set in Elena’s cottage, is Malcom’s outstanding scene containing the aria Mura felici and his cavatina Elena! O tu, che chiamo! Bardon sings with rich expression as Malcolm asks Elena to keep faith with him and reassure him of her love. Next, he voices his gratitude to Elena for the way she inspires him, in his cabaletta Oh quante lacrime; Bardon provides strength and determination, delivering especially pleasing high notes.
In Act Two, Bardon is persuasive when communicating Malcom’s anguish in the awesome aria Ah! Si pera when exhausted and blooded after losing the battle with Rodrigo killed, he is sure he has lost Elena’s love. In his cabaletta Fata crudele e rio! Malcom is distraught and grieving at the terrible events and blames fate, the chorus of clan warriors adding to the vehemence as the penultimate scene concludes. Memorable, too, is the Act One duet between Malcom and Elena Vivere io non saprò set in the cottage, when the embracing couple vow their abiding love for each other. In this beautifully sung duet Bardon and Giannattasio convey warmth and affection.
Canadian bass-baritone Robert Gleadow takes the role of Duglas of Angus, Elena’s father. In his Act One cavatina Taci, lo voglio Gleadow, Duglas is convincingly fervent, ordering Elena to comply with his wishes and marry Rodrigo. When the battle with the king’s troops is lost, Duglas comes into his own. As a former teacher of the king, Duglas uses this connection to visit the King’s Palace in Stirling as peacemaker, in the hope of the king pardoning the lives of Elena and the rebel clan. Gleadow’s voice is highly successful throughout in his depiction of Duglas.
Splendid contributions in the supporting roles demonstrate the depth of quality of the casting. Scottish tenor Mark Wilde takes both Serano and Bertram, and Albina is sung by Italian soprano Francesca Sassu. In Act One, devoted friends, Serano and Albina sing an enjoyable duet, E in questo dì?, gossiping about forthcoming events. The Edinburgh Festival Chorus is fine voice, successfully drilled by chorus master David Jones. Especially notable are its Act One chorus Qual rapido torrente as the highland warriors rouse each other to fight and at the end of the same act the victory hymn Già un raggio forier, popularly known as the ‘Chorus of Bards’. Dedicated and convincing players, the Scottish Chamber Orchestra under their Italian conductor Maurizio Benini makes a commendable team. Recorded at Usher Hall, Edinburgh this live concert performance of La donna del lago formed part of the 2006 ‘Edinburgh International Festival’. The sound team for Opera Rara has provided first-class sound with minimal audience noise - and no applause has been left in.
I find La donna del lago to be one of Rossini’s most exciting operas and, I rather envy those hearing the opera for the first time, either on this live Edinburgh recording with Carmen Giannattasio as Elena on Opera Rara or watching Paul Curran’s New York Met production with Joyce DiDonato in the leading role on Erato DVD/Blu-ray.
Rossini wrote his two-act melodrama Bianca e Falliero using a libretto by Felice Romani based on the Antoine Vincent Arnault play Les Vénitiens, ou Blanche et Montcassin. The premiere took place in December 1819 in the Teatro alla Scala, Milan with soprano Violante Campores and contralto Carolina Bassi known as ‘La Napoletana’ creating the title roles of Bianca and Falliero.
Its reception was sufficiently encouraging for it to go on to receive a run of forty performances that first season in Milan. It was soon being given in several other Italian opera houses and other European countries, but from around 1846 the opera fell completely out of favour, and it was some one hundred and forty years before it was revived in a staging with Katia Ricciarelli (Bianca) and Marilyn Horne (Falliero) given at Rossini’s birthplace Pesaro in 1986 as part of the annual Rossini Opera Festival in the city. I notice the 1986 Pesaro staging was recorded live and released on the Warner Fonit and Hommage labels, and it was also filmed.
I doubt whether Bianca e Falliero would be ranked of one of Rossini’s finest operas; nevertheless, it has a number of splendidly dramatic moments. Rossinians will find few opportunities to attend live stagings of any of these three operas, especially, I would think, of Bianca e Falliero, but I am convinced many will relish this recording as I did on hearing the opera for the first time.
Set in seventeenth century, war-endangered Venice, Bianca e Falliero is a grand and lavish opera concerning the love of Bianca for the heroic Venetian general Falliero, a trouser role. Bianca’s senator father Contareno has promised her to marry Capellio, a fellow senator, in what would be an advantageous marriage both materially and politically. Central throughout is the alarming struggle between rival families warring over inheritance and the intensity of clandestine activities combine to create a stifling atmosphere.
The central role of heroine Bianca, the daughter of Venetian senator Contareno is sung by soprano Majella Cullagh revealing a bright and agile voice which she projects confidently. In Bianca’s Act One scene containing the aria Come sereno è il dì!... Della rosa il bel vermiglio and its cabaletta Oh! serto beato, she is thrilled at the prospect of seeing her lover Falliero returning home as the conquering hero. The Irish soprano brings lovely tone and attractive coloratura to the aria. The opera’s final scene contains the uplifting aria Teco resto: in te rispetto, when Bianca tells her father of her love for him but pleads with him to change his mind over her marriage. Finally, Contareno admits defeat and allows his daughter’s marriage to Falliero. An elated Bianca expresses her gratitude to her father in the cabaletta Oh padre! and peace between the warring families is finally achieved.
Venetian senator Contareno is for most of the opera the villain of the peace in forbidding his daughter Bianca to marry for love, having chosen fellow senator Capellio for her. This unsympathetic nobleman is quite well-drawn by tenor Barry Banks and I enjoyed Contareno’s tricky sequence from Act One especially Se l’amor mio ti è caro where he threatens the life of Falliero if Bianca doesn’t forget him. Banks expresses a splendid level of emotion in Pensa che omai resistere where Contareno is outraged and cannot break his promise to Capellio, and in Figlia mia, se forza al core he tries a calmer approach to convince Bianca to marry Capellio. In Contareno’s cabaletta with chorus Il piacer di mia ventura, he is delighted at Bianca’s decision to put love aside and marry Capellio, thus re-establishing the family wealth. Confident in his high register, Banks’ distinctive tone may not be to everyone’s taste yet here he deserves credit for handling Contareno’s mood changes so adroitly. It seems that some of Banks’ phrases were modified to ease his lower register, and why not, as it sounds successful? I doubt that Rossini would have been unhappy with this adaptation to suit soloists, a practice common at the time.
American mezzo-soprano Jennifer Larmore excels in her trouser role as Falliero the heroic Venetian general. in Act One, her aria Se per l’Adria il ferro strinsi and the formidable caballeta Il ciel custode both with chorus, Falliero is thankful for the praise received and speaks of doing his duty by devoting his life for Venice. Clearly at ease with the challenging demands of the heroic role, Larmore uses her substantial and attractive mezzo-soprano voice confidently and creates valiant drama to telling effect, although this is sometimes achieved at the expense of precision. She is to be congratulated for executing such convincing coloratura together with the quality of her mightily impressive high register. I understand that Larmore here sings her role at Rossini’s written pitch whereas in the 1986 Pesaro recording, Marilyn Horne had some Falliero’s music transposed down, which didn’t prevent her performance garnering acclaim.
Venetian senator Capellio is sung by Ildebrando D'Arcangelo, now one of the most celebrated bass singers on the opera stage. Capellio is in love with Bianca and her father Contareno has given his consent for the marriage. Although the role of Capellio has few solo opportunities the Italian bass exudes assurance with his weighty and robust tone, making a considerable impact. In the smaller roles of Costanza (Bianca’s nurse) sung by mezzo-soprano Gabriella Colecchia, the Doge Priuli by bass Simon Bailey and Pisani (Chancellor of the Council of Three) taken by tenor Ryland Davies do all that is expected of them.
Doing a fine job with satisfying unity is the Geoffrey Mitchell Choir and one senses its enthusiasm for this repertoire. This album was the first appearance by the London Philharmonic Orchestra for Opera Rara and the sound it produces here is quite splendid. The label certainly struck lucky with such an assured and insightful advocate for a number of its neglected bel canto operas as conductor David Parry. These Opera Rara studio recording sessions of Bianca e Falliero were held in 2000 at Henry Wood Hall, London and the sound quality is first class.
The original digital recordings are described as 24-bit source recordings. Opera Rara informs me that to achieve the finest sound quality possible for this Classics series, it has selected a number of operas in its back catalogue and remastered the original recorded sound to facilitate the new sound formats: ALAC (Apple Lossless), FLAC (Free Lossless) and MP3 (Lossy). The label state these recordings have been newly remastered for this set however I don’t have the original Opera Rara recordings to compare for sound improvement. In truth, I have no problems whatsoever with the first-class sound quality provided.
In the English-only booklet are track and cast lists, a helpful synopsis for each opera and a new essay ‘Experimental Rossini’ by Rossini specialist Eleonora Di Cintio are all included. There are several photographs of the performers at the studio sessions and the live concert performance. The only drawback to this set is the absence of libretto and English translations in the booklet. Some consolation is the availability on the Opera Rara site of the complete Italian libretti with English translations as free downloads in PDF format which I have certainly utilised.
On a general note, for many years for its cover art Opera Rara used reproductions of classic oil paintings relevant to the particular release. The magnificent cover art of these high-end releases served as a successful visual connection to the era of the opera. Around the time of its fiftieth complete opera recording in 2015, Opera Rara began using bland and uninviting album cover design, a most peculiar part of its marketing practice that continues here. Though Opera Rara Classics is a reduced-price series of reissued recordings, I recall a leading marketing consultant stating that an item may be inexpensive but doesn’t have to look cheap or unappealing.
Despite my minor grumble over the cover art, the Opera Rara mission of restoring underappreciated operatic repertoire to life has succeeded here in spades, with three operas that absolutely deserve a wider circulation. Bel canto enthusiasts who don’t already have these three Opera Rara recordings shouldn’t waver with this marvellous set.
Michael Cookson
Details
Ermione - Opera in Two Acts (1819) [134:22]
Ermione, rejected lover of Pirro and loved by Orestes - Carmen Giannattasio (soprano); Andromaca, widow of Hector and a prisoner of Pirro who is infatuated by her - Patricia Bardon (mezzo); Orestes, son of Agamemnon - Colin Lee (tenor); Pirro, King of Epirus, betrothed to Ermione - Paul Nillon (tenor); Pylade, companion of Orestes - Bülent Bezdüz (tenor); Fenicio, tutor to Pyrrhus - Graeme Broadbent (bass); Cleone - Rebecca Bottone (soprano); Cefisa - Victoria Simmonds (soprano); Attalo - Loic Felix (tenor)
Geoffrey Mitchell Choir; London Philharmonic Orchestra/David Parry
rec. 2009 Henry Wood Hall, London
Original release OPERA RARA ORC42 [2 CDS: 64.47 + 69.35]
La donna del lago - Opera in two acts (1819) [159:41]
Giacomo, James V, King of Scotland, under the name of Uberto - Kenneth Tarver (tenor); Elena - Carmen Giannattasio (sop); Douglas d'Angus, Elena’s father - Robert Gleadow (bass); Rodrigo di Dhu, rebel leader - Gregory Kunde (tenor); Malcolm Groeme - Patricia Bardon (mezzo); Serano, Douglas’s retainer - Mark Wilde (ten) Albina, Elena’s confident -Francesca Sassu (mezzo)
Scottish Chamber Orchestra and Edinburgh Festival Chorus/Maurizio Benini
rec. Live 2006 ‘Edinburgh International Festival’, Usher Hall, Edinburgh
Original release OPERA RARA ORC 34 [3CDs: 39.31 + 56.40 + 63.30]
Bianca e Falliero - operatic melodrama in two acts (1819) [180:10]
Libretto by Felice Romani on a play by Antoine Arnault
First performed at Teatro ala Scala, Milan, 26 December 1819
Bianca, the daughter of Contareno, Majella Cullagh (sop); Falliero, a Venetian general, Jennifer Larmore (mez); Contareno, a Venetian senator, Barry Banks (ten); Capellio, a Venetian senator in love with Bianca, Ildebrando D'Arcangelo (bass); Costanza, Bianca’s nurse, Gabriella Colecchia (mez); Priuli, Doge of Venice, Simon Bailey (bass); Pisani, a member of The Council of Three, Ryland Davies (ten);
Geoffrey Mitchell Choir; London Philharmonic Orchestra/David Parry
rec. 2000 Henry Wood Hall, London
Original release OPERA RARA ORC20 [62:18 + 42:32 + 75:20]
Previous review of Bianca e Falliero in Ralph Moore’s Rossini Selection.
