CD and DVD Review

By Joel Kasow

PARIS, 10 March 2003

Donizetti: Maria Stuarda
Carmela Remigio (Maria); Sonia Ganassi (Elisabetta); Cinzia Rizzone (Anna); Joseph Calleja (Leicester); Marzio Giossi (Cecil); Riccardo Zanellato (Talbot); Coro del Circuito Lirico Regionale Lombardo; Fondazione Orchestra Stabile di Bergamo 'Gaetano Donizetti'; Fabrizio Maria Carminati (conductor); Francesco Esposito (director and costume designer); Italo Grassi (set designer); Marco Scalfi (video director)
Dynamic DVD 33407 (notes in English, French, Italian, German and Spanish; libretto in Italian only; also available as a 2 CD set)

This new recording, and perhaps even first DVD, of Maria Stuarda is noteworthy as it is the first that uses the new critical edition prepared by Anders Wiklund, based on an autograph score found in Stockholm. A search on the internet led me to the publisher's site in which it is stated that the major alterations are not only the two act structure - something we long suspected - but a different introductory chorus after the short prelude and a substantial part of the first act finale. Yes to the first, partial agreement to the second as it is the stretta section of the finale which follows the same rhythmic pattern but is melodically different; in addition, the melodic line in the cabaletta to Maria's first act aria is also changed. What is not stated is that the introductory chorus and change in the finale use music that later found its home in La Favorita. Whether the score in common use until now can be authenticated as Donizetti's later thoughts remains a question unanswered until we have read what Wiklund states in his introduction to the publication. What you all of course want to know is how the performance stacks up against some of the legendary versions, and in that respect you may be slightly disappointed. It is very nicely sung by the two "prima donnas", with Sonia Ganassi making Elizabeth a real bitch, but Carmela Remigio lacks the attributes that make us believe so fully in a Beverly Sills, Nelly Miricioiu or Janet Baker, among others. Joseph Calleja's bleating tenor is a trial, while his uninvolved performance is all too vividly captured by the camera. The remainder of the cast do their jobs well, but the roles are truly insignificant. Extras on the DVD include interviews with Remigio and Ganassi, as well as the conductor and stage director, in which the latter explains his prison motif that frames the work. Conductor, orchestra and chorus are well-captured. Musicological verity and Sonia Ganassi make this an interesting acquisition.


Donizetti: Lucie de Lammermoor
Natalie Dessay (Lucie); Roberto Alagna (Edgard); Marc Laho (Arthur Bucklaw); Yves Saelens (Gilbert); Ludovic Tézier (Henri Ashton); Nicolas Cavallier (Raymond)
Orchestre et Choeur de l'Opéra National de Lyon
Evelino Pidò (conductor)
Virgin 7243 5 45528 2 3 (2 cds; texts and translations in French, German and English)



Lucie is Donizetti's own reworking of Lucia di Lammermoor for the French market, eliminating the roles of Alisa and Normanno and creating that of Gilbert, who assumes the functions of both, and is far nastier than one might imagine. The role of Raymond is reduced considerably, so that the focus remains on the three main characters of Lucie, Edgard and Henri. Some of the opera sounds strange to our ears that are so used to the Italian, but the singers in this recording are outstanding in projecting the text. Natalie Dessay was not in her best vocal state at the time of recording, and it is only in Act 3 for the mad scene that she begins to resemble her usual self. Earlier, notes around high A seem to give enormous trouble, while those higher (but only up to D) are more easily emitted. Roberto Alagna's equally unmistakeable timbre is heard to great advantage, always the case when he sings in French, and he makes much of the drama. Lucovic Tézier (who I recently praised highly for his performance of the title role in Bizet's Ivan IV) is incisive in his delivery of the text while singing with the sort of assurance one has not heard since the heyday of Robert Massard. Minor roles are well done, and conductor Evelino Pidò avoids nuance a bit too often while also engaging in strange transitions of tempo. Nonetheless, this recording is highly recommended over its only rival, a live recording from the Festival of Martina Franca issued by Dynamic, which is noteworthy only for the performances of Patrizia Ciofi and Nicolas Rivenq: the remainder of the cast and chorus too often sound strangled by the French language while the tenor was suffering that evening.


Mayr: Ginevra di Scozia
Elizabeth Vidal (Ginevra); Daniela Barcellona (Ariodanate); Giuseppina Piunti (Dalinda); Antonino Siragusa (Polinesso); Marco Lazzara (Lurcanio); Aldo Orsolini (Vafrino); Luca Grassi (Il Re); Damiano Locatelli (Gran Solitario)
Orchestra and Chorus of the Teatro Lirico 'Giuseppe Verdi' Trieste
Tiziano Severini (conductor)
Opera Rara ORC 23 (3 CDs: texts and translations in English and Italian)

Giovanni Simone Mayr's Ginevra di Scozia was one of the most successful operas of its time, for a period of about 30 years from its premiere in Trieste in 1801. Mayr the Bavarian is perhaps the least-known of the important links between the Viennese classical school and early 19th-century Italian opera. Haydn was an important influence in terms of orchestral writing, while the dramatic approach is something passed on to Mayr's most important pupil, Donizetti. Unusually, there are few ensembles: two extended duets, an extraordinarily perfunctory quintet and one shorter duet leading into a vaudeville finale. The three principal roles are exceptionally demanding: Teresa Bertinotti Raditotti, the first Ginevra, must have been the possessor of a high-lying soprano; Luigi Marchesi, a castrato Ariodante, was one of the last exceptional singers of his kind; while Giacomo David, the first Polinesso, was the teacher of his son Giovanni as well as that other favorite Rossinian tenor, Andrea Nozzari, while himself no slouch as a singer. Opera Rara co-produced this album with the Teatro Lirico 'Giuseppe Verdi' of Trieste to commemmorate the 200th anniversary of the premiere in the same theater, while at the same time fulfilling one of their own long-standing wishes. Marco Beghelli reconstructed the score on the basis of a great many copies of the time found scattered throughout Europe, but it was only when the performances and recording were completed that the composer's autograph turned up in Vienna. As usual, Jeremy Commons contributes a detailed essay on the opera and its context. Elizabeth Vidal in the title role is equal to the almost impossible demands placed on her. Vidal has until now remained in the shadow of her more famous contemporary, Natalie Dessay. With this performance, she emerges in her own right, easily encompassing the stratospheric flights as well as the drama. Daniela Barcellona's Ariodante is equally impeccable over the more than two octaves of her role. Antonino Siragusa is the rising star in the Rossinian tenor world, handicapped by a bleating sound but as always technically assured. Marco Lazzara's falsetto sounds will not be to everyone's taste, his lower register barely audible and the tone far from agreeable. Luca Grassi's rich baritone relies too heavily on a beefed-up sound, perhaps to give him regal authority. Conductor Tiziano Severini demonstrates Mayr's links with the Viennese classical school, but never loses sight of the drama.


Ponchielli: Marion Delorme
Denia Mazzola-Gavazzeni (Marion Delorme); Francesca Provvvisionato (Lelio); Francisco Casanova (Didier); Dalibor Jenis (Saveryny); Carlo Cigni (Laffemas); Franck Bard (Brichanteau); Hervé Martin (Captain/Jailer)
Orchestre National de Montpellier Langeudoc-Roussillon
Choeur de l'Opéra de Montpellier
Latvian Radio Chorus
Friedemann Layer, conductor
Accord 472 613-2 (2 CDs; texts and translatioins in English, French, German and Italian)



Without the energy of René Koering, director of music for the city of Montpellier, head of France Musiques and director of the Festival de Radio France, listeners would be much poorer off than is now the case. Actes Sud seems to be out of the picture as distributor of recordings emanating from the various sources under Koering's direction, with Universal's Accord division now responsible for the distribution of numerous rarities, the first of which is. Ponchielli's Marion Delorme (to be followed by Alfano's Risurezzione and Offenbach's Rheinnixen). Curiosity has always subsisted about the works of Ponchielli, other than La Gioconda which has carved its own place in the repertoire, and we are now able to form our opinion rather than relying on a great deal of second and third-hand reports. The work is clearly influenced by middle-period Verdi, and we can hear echos of Aida, among other operas. Of course, the leading roles were created by the same singers who sang in the world premiere of Otello. Ponchielli's attention to detail is noteworthy, as is his care over orchestration. Friedemann Layer's more than able leadership is to be remarked, as is the performance of Denia Mazzola-Gavazzeni in the title role. As always, the conviction she brings to her role outweighs any criticism one might have. Yes, the voice is showing some signs of wear, the chest voice keeps going higher, but the commitment is primordial here. Francisco Casanova's tenor hero manages a suave mezza voce for his aria, while Dalibor Jenis demonstrates the affinities of his role (Saverny) with the writing of an earlier school (Donizetti). Francesca Provvisionato's Lelio offers greater presence on disc than in the concert hall.


Rossini: Elisabetta regina d'inghilterra
Jennifer Larmore (Elisabetta); Majella Cullagh (Matilde); Manuela Custer (Enrico); Bruce Ford (Leicester); Antonino Siragusa (Norfolk); Colin Lee (Guglielmo)
Geoffrey Mitchell Choir
London Phil Orchestra
Giuliano Carella (conductor)
Opera Rara ORC 22 (3 cds: texts and translations in English in Italian)

Elisabetta regina d'Inghilterra is the first of the nine operas Rossini composed for Naples and was previously available from Philips with Montserrat Caballé and José Carreras. This new recording is complete, using an edition newly prepared for the Rossini Foundation, so that we hear three recitatives and an orchestral introduction to Act 2 not in the most readily available score (Belwin Mills), and an extended version of Norfolk's aria, already recorded by Rockwell Blake on a Rossini recital disc several years ago. Opera Rara has, however, inexplicably chosen to package the opera on 3 cds, when the 40 and 35 minutes of the first two discs could easily have fit on one. They may be shooting themselves in the foot as the Philips recording was for years available on two mid-priced Philips discs, and can probably still be found today). Listening to both that and the new version, however, is revelatory. While Jennifer Larmore may not have all the vocal splendor that was Caballé's, she shows more awareness of character, occasionally letting us see the woman and not the queen, nor does she shirk the task of getting out all the words, while being more accurate musically, including all the trills that her predecessor just as conveniently omits. Similarly, Bruce Ford may not possess the intrinsic vocal beauty that made Carreras so popular, but he too is more attuned to the style of the music and has the resources to do much more. Majella Cullagh's Matilde may not possess the plangency of Valerie Masterson, but she is far more vivid a character, her singing impeccable. Antonino Siragusa's Norfolk has more punch than Ugo Benelli, he too far more at home in the Rossinian world though he tends to bleat occasionally while his coloratura is not always impeccable. In all instances, the singers take care to embellish, something unthinkable 25 years ago. Conductor Giuliano Carella offers a far more incisive reading than Gianfranco Masini, but the close miking of the singers makes one feel as if they are about two feet away. Siragusa sometimes sounds as if he is being recorded separately (the recitative with Leicester prior to Norfolk's duet with Elisabetta). It is difficult to believe that the earlier version was recorded in conjunction with staged performances at the Aix Festival while the new recording was made prior to a concert performance. If you want an idea of Rossini's work as something more than just an empty display vehicle, this is the version to acquire, with the additional benefit of Jeremy Commons's accompanying essay.


Schoenberg: Gurrelieder
Karita Mattila (Tove); Anne Sofie von Otter (Alceste); Paul Groves (Waldtaube); Thomas Moser (Waldemar); Philip Langridge (Klaus-Narr); Thomas Quasthoff (Bauer/Speaker)
Berliner Philharmoniker
Rundfunk Chor Berlin
MDR Rundfunk Chor Leipzig
Ernest Senff Chor Berlin
Sir Simon Rattle, conductor
EMI7243 5 57303 2 9 (2 CDs; texts and translations in English, French and German)



Gurrelieder may be the apotheosis of gigantism, but we must not forget that Schoenberg - like Mahler - was able to convince us using small formations, as he often does in this work. Simon Rattle and the Berlin Philharmonic are joined by three excellent choirs for a solid underpinning for the soloists. Thomas Moser has the power for the role of Waldemar if not always the ability to convince us of his emotions, but Karita Mattila's Tove helps explain why she is one of today's major sopranos, always investing her music with the requisite emotion without over-emoting. Anne Sofie von Otter's Wood Dove may not achieve the pathos of some of her predecessors, but there are few who could equal her today. The lesser contributions of Philip Langridge and Thomas Quasthoff are major, but it is Rattle at the helm who gives this performance its distinction.


Vivaldi: L'Olimpiade
Sara Mingardo (Licida); Roberta Invernizzi (Megacle); Sonia Prina (Aristea); Marianna Kulikova (Argene); Laura Giordano (Aminta); Riccardo Novaro (Clistene); Sergio Foresti (Alcandro)
Concerto Italiano
Rinaldo Alessandrini , conductor
Opus111 (3 CDs; texts and translatioins in English, French, German and Italian)



Opus 111's Vivaldi project continues with L'Olimpiade, a work not totally unknown to collectors, but this version puts all previous attempts in the shade. All the roles are sung at the proper pitch, the voices are truly differentiated so that everyone is immediately recognizable. Recitatives are delivered with conviction, not always the case in baroque opera recordings, with special mention for Roberta Invernizzi. Arias are fairly evenly distributed, the higher voices with three each, the two men with two each, two short choruses and one duet. Saria Mingardo's lush contralto contrasts with the incisive delivery of Ms. Invernizzi's soprano, with Sonia Prina's distinctive sound perhaps a bit too "masculine" for the heroine. Marianna Kulikova, yet another mezzo, is an appealing rival to the princess, all four making light of the text while remaining expressive. Laura Giordano's bright chirpy soprano does not quite gibe for me as the older confidant, but the two basses as king and confidant restore vocal balance. Rinaldo Alessandrini is clearly the driving force of the enterprise, and we can only hope that subsequent operatic recordings in this series will be equally as successful.


To be reviewed: Lieder by Schubert (Bostridge), Nordic composers (Barbara Hendricks), Handel duets, choral music by Haydn, Lili Boulanger, Stravinsky, Macbeth (Scotto, Bruson - Ponto)