14 Nov 2007
ROSSINI: Torvaldo e Dorliska
Between the efforts of recording companies Naxos and Opera Rara, Rossini-philes have been living in a golden age.
Recently in Recordings
Ariane et Barbe-Bleue on Blu-Ray
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
Kaufmann Wagner
The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Mahler: Symphony No. 8
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
Songs by Zemlinsky
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Gustav Mahler: Lieder eines fahrenden Gesellen, Rückert-Lieder, Kindertotenlieder.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Kathleen Ferrier: A Film by Diane Perelsztejn
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
1612 Italian Vespers
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes: Songs and Dances for the Soul
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Mahler: Symphony no. 3 / Kindertotenlieder
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen’s Symphonies from NMC
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Ludwig van Beethoven: Fidelio
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko: Flis
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
Stanisław Moniuszko: Pieśni Songs
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Joan Sutherland and Richard Bonynge: Serate Musicali
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
Richard Strauss: Salome
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Lulu by Gran Teatro del Liceu, Barcelona
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
Lulu by the Metropolitan Opera
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
Elmer Gantry the Opera
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Historical Performances from Covent Garden: Barbiere, La traviata and Tosca
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Lucia and the glass harmonica
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
OPERA TODAY ARCHIVES »
Recordings
Operas that had middling (or less) success during the composer's lifetime have been recorded, with music that often strikes the ear as quite familiar, since Rossini, understandably, employed the scores as a sort of treasure chest to draw from for later projects.
And so in the Naxos recording of Torvaldo e Dorliska, the second theme of the overture will surely evoke smiles from many listeners, who may search their musical memories before identifying the tune from its use in Cenerentola. Torvaldo e Dorliska, however, is no comedy. Instead, Martina Grempler, in the booklet essay, argues that the precedent for the opera is Beethoven's Fidelio - a rescue drama centered on marital fidelity. Let that suffice for a description of the plot - historical commentary referenced in the essay indicates that the weakness of Cesare Sterbini's libretto doomed the opera. Naxos does provide a detailed track-by-track synopsis for those who want to follow every melodramatic twist and turn.
For the rest of us, the reward here is purely aural, as Rossini's score, while no lost masterpiece, possesses the style and creative energy of the master. Arias, duets, trios, quartets - the music streams by in rippling variety, with Rossini's orchestration skills, particularly with winds, always evident. Each of the title leads has a fine solo number in the first act. Soprano Paola Cigna (a good soprano name!) delivers her "Tutto è vanno" with energy and precision, with the runs precisely articulated in the cavatina. Occasionally, higher tessitura brings some acid into her tone; the middle is attractive enough. Tenor Huw Rhys-Evans (no reward for guessing his nationality) has an even more pleasing voice, all the way through a secure and ringing top. His scena, "Tutto è silenzio," is more sweet than potent, and it would be an excellent choice for any artist (think Juan Diego Florez) searching out rarer but rewarding arias.
The bad guy role, Duca d'Ordow, goes to a bass. Michele Bianchini has no big solo scene, but his sonorous voice has ample opportunity to sneer and threaten in various ensembles. His subordinates, who end up betraying him and helping the title characters, are well sung by baritone Mauro Utzeri (Giorgio) and bass-baritone Giovann Bellavia (Ormondo). Giorgio even gets the last aria leading into the joyous finale. In the small role of Giorgio's sister Carlotta, Anna-Rita Gemmabella finds herself in the spotlight as the drama thickens (at least supposedly) in act two - rather like Berta's bouncy number in the very different Barbiere. Gemmabella's warm mezzo suits the number, "Una voce lusinghiera," very well.
Conducting from the harpsichord, Alessandro de Marchi leads the Czech Chamber Soloists in a secure, detailed performance sensitive to the ostensible drama while pressing forward. Naxos compiled the recording from three performances dates during the 2003 Rossini in Wildbad Festival. The sound is fine, with little distracting stage noise.
Sooner or later Opera Rara may turn to this opera, but if they do, the performance had better employ superstars who can clearly outshine the more than capable singers on this Naxos set. For at budget price, this Torvaldo e Dorliska can be recommended to anyone with an affection for Rossini, or the lost glories of bel canto.
Chris Mullins