22 Sep 2005
DONIZETTI: Francesca di Foix
Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
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The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
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Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
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Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
Among Gaetano Donizetti’s compositions are just over a dozen one-act operas. Save for his one
A case in point is the melodramma giocoso entitled Francesca di Foix (1831). For instance, William Ashbrook, perhaps the most noted interpreter of Donizetti’s career, deemed this score “largely inconsequential,” suggesting as well that it was “not the expected sequel to Anna Bolena” (1830) and that it must have been composed with “minimal exertion.” The current re-examination of opera’s narrative has compelled scholars to take a different approach. No longer is it protocol to separate out works that somehow seem apart from the norm; rather it is important, especially in light of slow but steady publication of sets of critical editions, to acknowledge each work as a step in a composer’s compositional development. Hence, a recording of Francesca di Foix, especially one as well-performed as this latest addition to Opera Rara’s CDs of the works of Donizetti, becomes as important as it is entertaining.
Francesca di Foix was written for performance at the San Carlo in Naples for the onomastico or name day of Ferdinando II. Jeremy Commons, author of the CD liner notes, seems surprised by the subject of the work: it revolves around jealousy rather than love. Given the importance and international vogue of French opéra comique, the libretto, based on a subject set by Henri-Montan Berton, hardly seems out of place at all. Furthermore, the history of Donizetti’s opera speaks to its popularity. The gala starred the most important baritone of the primo Ottocento stage: Antonio Tamburini (who, let it be noted, sang the role of the King, the character who not only sorts of Francesca’s problems with her husband but who would have symbolized Ferdinando). Given that there was no such thing as an operatic repertory, it is unfair to judge the quality of Francesca’s music on its seven-performance run. Moved to the Teatro Fondo from the massive venue in which it was premiered, it nonetheless was returned to the San Carlo, where it was sung three more times. Its future after that is predictable; since occasional pieces generally were associated with the celebrations for which they were commissioned, it is highly unlikely that Donizetti would have considered offering his name-day present to the ruler of the city in which he was employed to theaters outside of Naples. He may have gained nothing more than fame from the work, but the fact that he plumbed it later for self-borrowings suggests that he was confident about the score. The comment of music publisher Guglielmo Cottrau (“the music is very feeble”) can easily be explained away; it was par for the course, indeed obligatory for publishers to speak ill of the music of composers in whose works they did not deal (in fact, Cottrau would not publish Donizetti’s music until later).
Assuming that Patric Schmid and Robert Roberts’ performing edition, based on the holograph score at the Naples Conservatory, has preserved the work’s historical integrity, Opera Rara’s Francesco di Foix is a delight. The recording’s cast features a now-familiar set of performers who excell in this repertory. Among these regulars are Annick Massis, Bruce Ford, Pietro Spagnoli, and in another “breeches role,” Jennifer Larmore, all joined by Alfonso Antoniozzi. One comes to expect the highest quality from this core group and no one disappoints in this production. Particularly notable is Massis’ rendition of the cabaletta “Donzelle, si vi stimola,” a perfect example of the some of the inventive elements in this score. Massis and Ford offer a spectacular rendition of the stretta “Quante son delle civette” of Francesca and the Duke’s duet. As usual, Larmore’s performance is consistently excellent as is Spagnoli’s. If it is Opera Rara’s intent (and one must go by the liner notes in this case) to highlight Francesca di Foix as an opera semiseria, Antoniozzi’s interpretation, heard even in his entrance, “Che vita, della caccia” emphasizes the buffo elements of his role a bit too strongly. On the other hand, this interpretation may serve well for it allows listeners to link this score with roles like Dulcamara and Don Pasquale. Finally, the Geoffrey Mitchell Choir offers non-intrusive but substantive support that is right on the mark.
Francesca di Foix is no inconsequential work; rather it is a gem in miniature, featuring all of the stylistic elements of primo Ottocento opera in one single act. Kudos to Opera Rara for (re)introducing it to the world.