Bianca e Fernando, commissioned for the inauguration of the Carlo Felice Theatre in 1828, was composed at the start of Bellini’s career as one of the most important opera composers of the 19th century. The superb music for this dramatic story of filial love, wicked intrigues and triumph over tyranny was received with the ‘jubilation and admiration of the citizens of Genoa’ and greatly admired by the likes of Donizetti, earning Bellini recognition throughout Italy and beyond. This acclaimed first modern performance brings to light precious lost pages of music, reviving the original ‘splendid celebration’ of its premiere.

This recording of Bellini's Zaira is of the 2012 performance at Martina Franca. This is only the fourth production in modern times. Zaira began as unsuccessful, although perhaps unjustly so. The composer did not even enter the stage for final bows at the premier because his music was received so poorly. This is due in part to Bellini turning down libretto by Luigi Torrigiani, who was soon after appointed as "composer and overseer of performances," and sought revenge on Bellini. The vocal style of this opera has been called by some "expressive athleticism." Trills, turns, filaturas, and mordents test the vocalist's skills in this production.

Bellini: I puritani (Recorded 1952)

ROMANTIC ARIAS • Nino Machaidze (s); Michele Mariotti, cond; Bologna Th O • SONY 88697841742 (73:00 Text and Translation)


Arias from MASSENET Manon. GOUNOD Roméo et Juliette. BELLINI Adelson e Salvini. La Sonnambula. ROSSINI Il Turco in Italia. DONIZETTI Lucia di Lammermoor. La Fille du régiment. Linda di Chamounix


Although Georgian-born soprano Nino Machaidze has been a member of the prestigious young artists development program at La Scala in Milan and actually made her leading-role debut there in 2007, she didn’t make a real splash in the international opera scene until she filled in for a pregnant Anna Netrebko as Gounod’s Juliette in a summer Salzburg production in 2008. (An obviously pregnant Juliette would really have made a splash!) After her success there, Machaidze has followed up with debuts at several prestigious opera venues, including both coasts in the U.S., appearing in Rossini’s Il Turco in Italia at the Los Angeles Opera and as Gilda in Rigoletto at the Metropolitan Opera. Machaidze’s lyric coloratura repertoire and her sultry Slavic beauty have led to the inevitable comparisons with superstar Netrebko. Here the young Georgian singer presents a debut album of well-known Romantic arias.


Among the program are two French arias from the Gounod opera of the two ill-fated lovers mentioned above, and the delightful “Adieu, nôtre petite table” as Manon sings goodbye to her furniture in Jules Massenet’s opera named for the heroine. The other six selections on the disc are bel canto and coloratura showpieces, a repertoire with which Machaidze seems the more comfortable. Instead of the usual mad scene from Donizetti’s Lucia di Lammermoor , we get the lovely act I entrance scena and aria for Lucia, “Regnava nel silenzio.” A beautiful aria from Vincenzo Bellini’s obscure first opera, Adelson e Salvini , “Dopo l’oscuro nembo,” is probably better known to operagoers as Giuletta’s “Oh, quante volte” after Bellini reused the tune in his I Capuleti e I Montecchi. Two extended scenes, one from Donizetti’s La Fille du Régiment and the other the wonderful finale from Bellini’s La Sonnambula, here demonstrate Machaidze’s ability to span a range of emotions and a range of musical styles culminating in spectacular coloratura fireworks.


As to vocal production, Machaidze has all the breathtaking high notes and the vocal agility to sing florid passages with which only the young are blessed for too short a time. She does not possess the tonal beauty and solid security in her top range that Netrebko enchants us with, but both sopranos have the dusky, rich sound in the lower register often found with Slavic singers. Machaidze has been criticized in some live performances for occasional intonation problems, but one hears little of that here. The young coloratura sings very well, her Italian better than her French.


Booklet essays and complete texts are provided in English, German, French, and Italian. Sony takes advantage of the photogenic Machaidze with nine glamour photos. The Bologna Teatro Communale Orchestra is no doubt long familiar with these operatic chestnuts and supports the singer in excellent fashion. Machaidze bears watching and hearing; she is one of the young guns on the opera horizon. You will enjoy her work on this fine CD.


FANFARE: Bill White

Bellini: Norma (1950)

Bellini: Norma [1958]

Vincenzo Bellini’s Norma is one of the great tragic, lyric operas of all-time, a constant presence on the world’s great opera stages and in the repertoire of the world’s finest sopranos. This 1952 Covent Garden, London live recording, re-mastered directly from the broadcast acetates without any filtering or cuts, will leave one wishing they were there to experience it in the moment. Two young, future divas, Maria Callas and Joan Sutherland, feature alongside the wonderful mezzo Ebe Stignani for the women’s team, to be combined with Mirto Picchi, Giacomo Vaghi and Paul Asciak for the men’s.

Classical Music

Bellini: I puritani (Recorded 1960) [Live]

Star soprano Sonya Yoncheva sings the towering role of Bellini's Norma – a priestess torn between love and duty – in a timeless tale of love and betrayal, set in a fanatically religious and war-torn modern society. The spectacular production by Àlex Olle for The Royal Opera also stars Joseph Calleja as Norma's former lover Pollione, leader of the forces occupying her country, Brindley Sherratt as her domineering father Oroveso, and Sonia Ganassi as Adalgisa, her greatest friend and unwitting rival in love. Royal Opera Music Director Antonio Pappano leads this superb cast, the Royal Opera Chorus and Orchestra of the Royal Opera House in one of the greatest works of the bel canto repertory.

Star soprano Sonya Yoncheva sings the towering role of Bellini's Norma – a priestess torn between love and duty – in a timeless tale of love and betrayal, set in a fanatically religious and war-torn modern society. The spectacular production by Àlex Olle for The Royal Opera also stars Joseph Calleja as Norma's former lover Pollione, leader of the forces occupying her country, Brindley Sherratt as her domineering father Oroveso, and Sonia Ganassi as Adalgisa, her greatest friend and unwitting rival in love. Royal Opera Music Director Antonio Pappano leads this superb cast, the Royal Opera Chorus and Orchestra of the Royal Opera House in one of the greatest works of the bel canto repertory.

*** This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD or HD DVD players. ***

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD
Norma is considered not only Bellini’s masterpiece, but also one of the best 19th century operas tout court. Yet, its premiere at La Scala in 1831, three months from the beginning of its composition, was received with a coldness that surprised even Bellini. However, in the space of a few days Norma dispelled all doubts and started on a triumphant journey. This production was recorded at the Macerata Opera Festival, and features a superb cast. It was a particularly great success for Uruguayan soprano Maria Jose Siri, who performs the title role, and Italian mezzo Sonia Ganassi who is Adalgisa. “A perfect synthesis of cast, direction, sets, lighting, and costumes,” according to Italian critics. The aria “Casta diva” received a standing ovation.

Libretto not included.

Drawn from the incomparable RCA Victor catalog and remastered from the original tapes, now sounding better than ever, comes this 1973 recording features Montserrat Caballé in one of her most commanding roles, the heroine of Bellini’s Norma.

This is a reading to live with.

- MusicWeb International

The singing is of amazingly high quality.. Orgonasova is simply wonderful - vibrant, girlish, fluid, singing off the text and with no problem with the role's sometimes outlandish upper reaches....I can't imagine a finer current exponent of the role. Gimenez is equally good, his tone sweet, his high notes limpid, his passion undeniable...And so we finally have a Sonnambula one needn't apologize for - what a relief! - FANFARE