Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.

Verdi: Messa da Requiem - Staatskapelle Dresden, Christian Thielemann (Profil)

It has often been the case that the destruction wrought by wars, especially the Second World War, has been treated unevenly by composers. Theodor Adorno’s often quoted remark, from his essay Prisms, that “to write poetry after Auschwitz would be barbaric” - if widely misinterpreted - is limited by its scope and in a somewhat profound way composers have looked on the events of World War II in the same way.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Stéphanie D’Oustrac: Sirènes

After D’Oustrac’s striking success as Cassandre in Berlioz Les Troyens, this will reach audiences less familiar with her core repertoire in the baroque and grand opéra. Berlioz’s Les nuits d’été and La mort d’Ophélie, Wagner’s Wesendonck Lieder and the Lieder of Franz Liszt are very well known, but the finesse of D’Oustrac’s timbre lends a lucid gloss which makes them feel fresh and pure.

Luminous Mahler Symphony no.3: François-Xavier Roth, Gürzenich-Orchester Köln

Gustav Mahler’s Symphony No.3 with François-Xavier Roth and the Gürzenich-Orchester Köln, now at last on CD, released by Harmonia Mundi, after the highly acclaimed live performance streamed a few months ago.

A First-Ever Recording: Benjamin Godard’s 1890 Opera on Dante and Beatrice

The composer Benjamin Godard (1849–95) is today largely unknown to most music lovers. Specialist collectors, though, have been enjoying his songs (described as “imaginative and delightful” by Robert Moore in American Record Guide), his Concerto Romantique for violin (either in its entirety or just the dancelike Canzonetta, which David Oistrakh recorded winningly decades ago), and some substantial chamber and orchestral works that have received first recordings in recent years.

Between Mendelssohn and Wagner: Max Bruch’s Die Loreley

Max Bruch Die Loreley recorded live in the Prinzregenstheater, Munich, in 2014, broadcast by BR Klassik and now released in a 3-CD set by CPO. Stefan Blunier conducts the Münchner Rundfunkorchester with Michaela Kaune, Magdalena Hinterdobler, Thomas Mohr and Jan-Hendrick Rootering heading the cast, with the Prager Philharmonischer Chor..

Gottfried von Einem’s The Visit of the Old Lady Now on CD

Gottfried von Einem was one of the most prominent Austrian composers in the 1950s–70s, actively producing operas, ballets, orchestral, chamber, choral works, and song cycles.

Britten: Hymn to St Cecilia – RIAS Kammerchor

Benjamin Britten Choral Songs from RIAS Kammerchor, from Harmonia mundi, in their first recording with new Chief Conductor Justin Doyle, featuring the Hymn to St. Cecilia, A Hymn to the Virgin, the Choral Dances from Gloriana, the Five Flower Songs op 47 and Ad majorem Dei gloriam op 17.

Si vous vouliez un jour – William Christie: Airs Sérieux et à boire vol 2

"Si vous vouliez un jour..." Volume 2 of the series Airs Sérieux et à boire, with Sir William Christie and Les Arts Florissants, from Harmonia Mundi, following on from the highly acclaimed "Bien que l'amour" Volume 1. Recorded live at the Philharmonie de Paris in April 2016, this new release is as vivacious and enchanting as the first.

Bohuslav Martinů – What Men Live By

World premiere recording from Supraphon of Bohuslav Martinů What Men Live By (H336,1952-3) with Jiří Bělohlávek and the Czech Philharmonic Orchestra from a live performances in 2014, with Martinů's Symphony no 1 (H289, 1942) recorded in 2016. Bělohlávek did much to increase Martinů's profile, so this recording adds to the legacy, and reveals an extremely fine work.

Berlioz: Harold en Italie, Les Nuits d'été

Hector Berlioz Harold en Italie with François-Xavier Roth and Les Siècles with Tabea Zimmermann, plus Stéphane Degout in Les Nuits d’été from Hamonia Mundi. This Harold en Italie, op. 16, H 68 (1834) captures the essence of Romantic yearning, expressed in Byron's Childe Harold’s Pilgrimage where the hero rejects convention to seek his destiny in uncharted territory.

Le Bal des Animaux : Works by Chabrier, Poulenc, Ravel, Satie et al.

Belgian soprano Sophie Karthaüser’s latest song recital is all about the animal kingdom. As in previous recordings of songs by Wolf, Debussy and Poulenc, pianist Eugene Asti is her accompanist in Le Bal des Animaux, a delightful collection of French songs about creatures of all sizes, from flea to elephant and from crayfish to dolphin.

Wolfgang Rihm: Requiem-Strophen

The world premiere recording of Wolfgang Rihm's Requiem-Strophen (2015/2016) with Mariss Jansons conducting the Symphonieorchester des Bayerischen Rundfunks and the Chor des Bayerischen Rundfunks with Mojca Erdmann, Anna Prohaska and Hanno Müller-Brachmann, from BR Klassik NEOS.

Ravel’s Magical Glimpses into the World of Children

This is the fifth CD in a series devoted to Ravel’s orchestral works.

About an enfant: Ravel’s Opera about Childhood and Debussy’s Prodigal Son

This recording of Ravel’s second (and last) one-act opera was made during a concert, and -somewhat daringly - with rather close microphone placement. As it turns out, everything went smoothly.

Halévy’s Magnificent La reine de Chypre (1841) Gets Its Long-Awaited World Premiere Recording

Halévy’s La reine de Chypre (The Queen of Cyprus) is the 17th opera to be released in the impressively prolific “French Opera” series of recordings produced by the Center for French Romantic Music, a scholarly organization located at the Palazzetto Bru Zane in Venice. (Other recent offerings have included Saint-Saëns’s richly characterized Proserpine, Benjamin Godard’s fascinating Dante--which contains scenes set in Heaven and Hell--and Hérold’s Le pré aux clercs, an opéra-comique that had a particularly long life in the international operatic repertoire.)

Complementary Josquin masses from The Tallis Scholars

This recording on the Gimell label, the seventh of nine in a series by the Tallis Scholars which will document Josquin des Prés’ settings of the Mass (several of these and other settings are of disputed authorship), might be titled ‘Sacred and Profane’, or ‘Heaven and Earth’.

OPERA TODAY ARCHIVES »

Recordings

Gaetano Donizetti: Marino Faliero (1835 edition)
20 Aug 2011

Donizetti’s Marino Faliero at the 2008 Bergamo Music Festival

Gaetano Donizetti is arguably the established opera composer with the highest ratio of failures to successes.

Gaetano Donizetti: Marino Faliero (1835 edition)

Marino Faliero: Giorgo Surian; Elena: Rachele Stanisci; Fernando: Ivan Magri; Israele Bertucci: Luca Grassi; Steno: Luca Dall’Amico; Leoni: Leonardo ramegna; A gondolier / Strozzi: Domenico Menini; Irene: Paola Spissu; Vincenzo: Aleksandar Stefanovski; Beltrame: Giuseppe Di Paola; Pietro: Enrico Marchesini; Marco: Livio Scarpellini; Arrigo: Elvis Fanton; Giovanni: Moya Gonzalo Ezequiel. Bergamo Musica Festival Chorus and Orchestra (chorus master: Fabio Tartari). Bruno Cinquegrani, conductor. Marco Spada, stage director. Alessandro Ciammarughi, set and costume designer. Giovanni Pirandello, lighting designer. Recorded live at the Teatro Donizetti, Bergamo, Italy, 31 October and 2 November 2008.

Naxos 2.110616-17 [2DVDs]

$39.99  Click to buy

Of his enormous output, only three operas are regularly staged — Lucia di Lammermoor, L’elisir d’amore, and Don Pasquale. The so-called “Queen” trilogy is once again getting some attention (Maria Stuarda, Anna Bolena, Roberto Devereux), and a couple others get occasional revivals, such as La Favorita and Lucrezia Borgia. But Donizetti wrote at least 4 dozen operas. Verdi, by comparison, wrote over two dozen operas, at least half of which are either standard repertory or get regularly revived. Is the disparity in quality between Donzietti’s established and obscure works really so great?

The answer is a qualified “yes,” on the basis of the Dynamic DVD of the Bergamo Musica Festival’s 2008 resurrection of Marino Faliero, the Donizetti opera that immediately preceded the premiere of his greatest success, Lucia. The full name of the festival, by the way, is Bergamo Musica Festival Gaetano Donzietti, and the operas are performed at the Teatro Donizetti. Explorations of the composer’s lesser-known titles must be a regular festival tradition. The orchestra’s performance of this score, as conducted by Bruno Cinquegrani, certainly reflects comfort with and dedication to the composer’s limited but evocative tonal world. For the tight Teatro Donizetti stage Alessandro Ciammarughi designed a modestly modernistic uni-set, with a sweeping walled staircase at the rear and a grated platform at the center of the open stage space. The costumes, also by Ciammarughi, are more opulent and thoroughly traditional. Given a suitable cast of singers, the festival can be said to have given an obscure opera such as Marino Faliero every opportunity for a fresh presentation of any overlooked virtues.

Faliero debuted around the same time as Bellini’s I Puritani, which had a greater success and overshadowed Donizetti’s work. Contemporary reviews, quoted in Dynamic’s excellent booklet essay, reveal that Faliero received qualified praise at best. The opera did not immediately vanish, but performances dwindled until it had disappeared from the repertory by the turn of the century.

The 2008 performance reveals a work with, unsurprisingly, a flawed libretto that only fitfully inspired the composer to excellent work. The very long first act bears the crux of the responsibility. It takes librettist Giovanni Emanuele Bidera far too long to establish both the romantic triangle and the political intrigue that move the plot forward, and the two elements never really coalesce. The story might seem to foreshadow Verdi’s Simon Boccanegra, as the title character is the Doge of Venice, caught up in the usual Venetian subterfuge and treachery. However, a more apt comparison would be to a sort of funhouse-mirror reflection of Un ballo in Maschera. Marino Faliero would be the Renato character, joining a conspiracy to take power away from a despised elite, but unaware that his wife Elena is in love with another man — the Doge’s nephew, Fernando. Fernando dies in defense of the Doge, and when Faliero’s conspiracy is revealed, he is sentenced to death. His wife then chooses that unfortunate moment to reveal to her husband that she was in love with Fernando. As he faces death, Marino forgives his wife.

It takes Bidera around thirty minutes to even get Faliero on stage, and the rest of act one drags itself to a forgettable conclusion. A spooky chorus starts act two off better, and although Fernando’s act two scene lacks that melodic memorability Donizetti displayed elsewhere, the music is strong. Act three has some more good music as Elena lies in despair after hearing of Fernando’s death, and then a brutal trial scene for the conspirators and Faliero packs a punch that serves to heighten the undeveloped promise of the story. So some of what keeps a small number of Donizetti’s works on the world’s opera stages is in evidence — just not nearly enough.

Perhaps an even better impression would have been made with a stronger cast. The Bergamo audience loves the tenor who sings Fernando, one Ivan Magri, but on DVD he comes across as very modestly talented, singing without much subtlety while misidentifying braying for volume. That said, he is better than the soprano, Rachele Stanisco, whose voice is aggressively unpleasant through much of the opera. By act three she finally seems to have settled and is able to make a decent impression. In the title role, baritone Giorgio Surian wobbles all over the place, but he has a gruff authority suitable for the role. As a chief conspirator, Luca Grassi makes the best impression, singing his music of outrage and defiance with real conviction.

For many opera lovers, exploring rare repertory retains a strong appeal, and though this Bergamo production doesn’t reveal a lost masterpiece, and the performance is not all it could be, there’s enough of interest here to suggest a recommendation to such fans for this Marino Faliero.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):