VERDI: Simon Boccanegra

GIUSEPPE VERDI: Vladimir Stoyanov, baritone; Cesare lana, bass; Lorenzo Muzzi, bass; Renzo Zulian, tenor; Orlin Anastassov, bass; Amarilli Nizza,soprano; Tiziana Carraro, alto; etc.; Orchestra and Chorus, Fondazione Arturo Toscanini/Stefano Ranzani; Pier Luigi Pizzi, directo GIUSEPPE VERDI: I Vespri Siciliani, dramma in five acts.NTSC All Region; LPCM 2.0; Dolby digital 5.1; Color; 16/9; 143 mins; Subtitled in Italian, English, German & French.

Also available on Blu-ray

Taken live from the stage of the Macerata (Italy) Festival in July and August of 2016, this performance has much to recommend it despite the fact that none of the singers are familiar names. This is the kind of regional performance that the big American companies should be listening to.

Never having heard of the soprano singing Leonora, Anna Pirozzi, I checked Operabase and discovered that she sings all over Europe–plenty at Covent Garden–and that her repertoire is all of the heavy Verdi roles: Abigaille, Lady Macbeth, Aida, Amelia, and Leonora. I wouldn’t bet on her Abigaille or Lady Macbeth, but her performance here is nothing less than spectacular.

The voice is big, with a rock-solid middle register, a steely edge to the high Bs, Cs, and D-flats, and a strong bottom, which avoids chest voice for the most part. But she also can spin long, high pianissimo phrases with a Caballé-like ease. The sound is attractive (though not in the Caballé class), her Convent Scene is a model of soft, legato singing, and her entire fourth act is nothing less than magnificent. And she throws herself into the text.

Marco Caria is a very good Luna with great ease in his upper third, a fine legato, and a nice sneer. But the voice, even on a recording, sounds a bit small for the part, and when he pushes for a bigger sound the microphones catch it and he sounds a bit desperate. But for the most part, he’s a valuable addition, a true Italian voice.

Piero Pretti as Manrico is a big lyric whose schedule includes Riccardo (Ballo), Rodolfo (Bohème), and Gualtiero (Pirata), as well as more Manricos, through September 2018. The sound is appealing and well-centered, the high notes–he takes “Di quella pira” in key–admirable and solid. But he’s a size too small for the part. He’s inaudible in the stretta to the first-act finale as well as in his duets with Azucena. And in the final scene, when he should be overpowering Leonora, he simply isn’t. Try him, you’ll like him, but think of Manricos of the past and he’s a miniature.

Enkelejda Shkosa is a more internationally known singer. Her Azucena is just about perfect despite a too-quick “Stride la vampa”; Azucena’s extreme anxiety is audible throughout. Shkosa’s third act is gloriously sung, and if the conductor and recording engineers had opted for more volume it would have torn down the house. The others are all very good, paying heed to what they’re singing, and Alessandro Spina’s Ferrando is solid.

Daneil Oren’s leadership has to be judged by the fact that this was recorded over a period of a few performances, and accordingly voice/orchestra balances vary from scene to scene. And in the Tower Scene, Manrico sounds like he is standing next to Leonora. Nonetheless, Oren totally understands mid-Verdi and differentiates beautifully between the exclamatory and, for want of a better term, “post bel canto” moments in the score. He gives the singers leeway in the arias but keeps a tight rein otherwise. The sound is clear, but as mentioned, the volume levels keep changing.

In all, though–and this is the point of even reviewing this recording–aside from Netrebko’s recent outing, this is the best Trovatore to be released in quite a while. There is, by the way, a DVD and Blu-ray video of this performance. It is all in reds and blacks, with plenty of fire. The look is gothic.

– ClassicsToday (Robert Levine)

I Lombardi alla Prima Crociata is an operatic drama in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The work is based on an epic poem by Tommaso Grossi, which was “very much a child of its age; a grand historical novel with a patriotic slant.” Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. "I Lombardi best encapsulates the spirit of the Italian people’s desire for nationhood. One would be pleasantly surprised, full as it is, of rousing choruses and musical numbers of great beauty, with music wonderfully expressive and perfectly in accord with drama at times. Visually and musically a sumptuous staging, full of contrasting colors and glorious singing for this young Verdi's rare work." (review by Alan Nelson / Operawire). American soprano Angela Meade and the Italian tenor Francesco Meli star in the main roles of this production, which is conducted by Michele Mariotti and was recorded in April 2018.

Also available on Blu-ray

I Lombardi alla Prima Crociata is an operatic drama in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The work is based on an epic poem by Tommaso Grossi, which was “very much a child of its age; a grand historical novel with a patriotic slant.” Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. "I Lombardi best encapsulates the spirit of the Italian people’s desire for nationhood. One would be pleasantly surprised, full as it is, of rousing choruses and musical numbers of great beauty, with music wonderfully expressive and perfectly in accord with drama at times. Visually and musically a sumptuous staging, full of contrasting colors and glorious singing for this young Verdi's rare work." (review by Alan Nelson / Operawire). American soprano Angela Meade and the italian tenor Francesco Meli star in the main roles of this production, which is conducted by Michele Mariotti and was recorded in April 2018.

All Regions – NTSC; DTS, Dolby Digital 5.1, PCM Stereo 2.0; 16:9; Aprox. 107 mins
Subtitled in Italian, English, French, German, Spanish, Japanese, Chinese

Il Corsaro is still one of Verdi's less known and performed operas. Chronologically speaking, it belongs to the famous "years in the galley", even though it dates from a period (the autumn of 1848) when the composer's name, in Italy, could already be considered established. Although this is considered one of Verdi's minor works, there are many exciting and poignant passages in it, and the tight dramatic action makes for music that has a pressing and incisive rhythm. The renowned baritone Renato Bruson and conductor Renato Palumbo stand out in the cast. The video recording makes the most of Lamberto Puggelli's beautiful sets. FIRST DVD RECORDING

R E V I E W S

Dynamic has issued this live performance of Verdi’s Il corsaro from the 2004 Verdi festival at Parma in both CD and DVD formats. The source of Piave’s libretto was Byron’s narrative poem, The Corsair. The first act is set on the Corsair’s island in the Aegean. After the traditional opening chorus, Corrado, the leader of the pirates, enters and declares that he is not happy. A messenger tells him that the Pasha Seid is preparing to attack. Corrado commands the pirates to attack the Muslims. In the second scene, set in a tower on the island, Medora sings of her love for Corrado and her fear of dark events in the future. Corrado enters, and in a duet she pleads with him not to leave her, but he promises to return soon and goes off to battle.

Act II is set in the harem of the Pasha Seid. Gulnara, who is loved by Seid, declares her hatred for the Pasha. A eunuch informs her that Seid wants her to attend a banquet. She agrees, but wants the other women to accompany her. The scene changes to a pavilion on the shore of the harbor of Coron. Seid leads the assembly in a prayer to Allah. Seid is informed that a dervish has come to speak to him. When fire breaks out in Seid’s fleet, Corrado—who has masqueraded as the dervish—reveals his identity, and his followers attack. In the midst of the battle, Corrado becomes aware that the harem is on fire; he commands his followers to save the women. Seid seizes the opportunity to counterattack, and Corrado is captured. Gulnara pleads with Seid to spare Corrado, but the pasha vows vengeance.

Act III, scene 1 is set in Seid’s apartments. In his aria, Seid expresses his suspicion that Gulnara is in love with Corrado; then, in a cabaletta, he vows to kill Corrado. Gulnara enters and pleads with Sied to spare Corrado, but he refuses and she threatens him. The scene changes to a dungeon inside a tower. Corrado is fearful that Medora will die if she finds out that he is executed. Gulnara enters and tells Corrado she has bribed the soldiers and guards, and that a ship is waiting to take him back to his homeland. She urges him to kill Seid, who is sleeping, but he refuses. She rushes out and then returns, telling Corrado that she has killed Seid. He tells her that he does not love her but is willing to save her.

The final scene is on the seashore on the Corsair’s island. Medora , believing that Corrado is dead, has taken poison. A ship is sighted and Corrado returns. In the final trio, Corrado tells Medora that Gulnara has saved him, but Medora reveals that she is dying because she believed he was dead. Medora dies in Corrado’s arms, and he leaps from a cliff into the sea.

Years ago, the International Record Collector’s Club released a CD entitled “Souvenirs of 19th Century Italian Opera.” In the notes, the author said: “No Italian opera written between the death of Donizetti in 1848 and the premiere of Cavalleria rusticana in 1890 (except those written by Verdi) ever became a permanent part of the international repertoire.” He noted only two possible exceptions: Boito’s Mefistofele and Ponchielli’s La gioconda. The fact is that Verdi’s most formidable competitor was himself. Much earlier, in 1951, in the notes of the Cetra Soria LP release of Un giorno di regno is printed a quote from the magazine L’Europeo, “Better a Failure of Verdi than a Success of . . . (name your own composer).”

Il corsaro, like all Verdi operas, requires great singers. In this performance, three young singers are paired with a veteran. Zvetan Michailov has a ringing spinto tenor. He does well in the dramatic moments, but his voice is monochromatic and lacking the ability to soften the tone when required. Michela Sburlati is a little light voiced for a role that requires a dramatic soprano, but is quite acceptable. Renato Bruson is past his prime. He sang the role of Seid in a 1971 performance that was available on LP. Now, 33 years later, his voice lacks the former ringing quality, and he has some difficulty with the high notes. Adriana Damato reveals a fine lyrico spinto, and is easily the best in the cast. The CD has notes and a libretto. The sound is excellent, and Renato Palumbo conducts with the verve that is necessary.

The only other commercial recording that I know of was first issued by Philips on LP in 1976 and then on CD in 1987. It boasts an all-star cast of Jessye Norman as Medora, Montserrat Caballé as Gulnara, and José Carreras as Corrado. The weak link is the Seid of Gian-Piero Mastromei. The conducting by Lamberto Gardelli is excellent, and it is the best recording of the opera. I totally agree with the opinion of Joe Kay Law who, in a review of this recording in The Opera Quarterly, vol. 5, Nos. 2 & 3, wrote the following: “In short, this reissue on CD should be enthusiastically received either to replace deservedly worn copies of the LP issue or to introduce listeners to an undeservedly neglected opera. Il corsaro may be minor Verdi, but it is far from negligible.” This new recording is recommended to all those Verdi lovers who do not have the Philips release.

Probably for financial reasons, the DVD reveals that all of the action takes place on shipboard, either Corrado’s ship or Seid’s ship. Only the final scene is on a somewhat bare stage. However, the production works well, except for the fire scene and the finale, when Corrado jumps off a wooden ladder in the back of the stage to commit suicide. Zventan Michailov is a rugged, handsome, ideal visual Corrado, and Michela Sburlati a beautiful, blonde Medora. The veteran Renato Bruson is visually excellent as Seid. Adriana Damato acts well, but she is unattractively costumed. Since there is little probability that a competing version will be released, I recommend that those who have a DVD player and love Verdi not hesitate.

Bob Rose, FANFARE

VERDI: Gustavo III (Reconstruction of Uncensored version of

First performed in French at the Paris Opera in 1867, Don Carlo is in many ways an amazingly innovative work. The opera seems to underline Verdi's shift from the Manichean division between good and evil, which had been a clear, structural element of his dramaturgy up to that point in his career. In this opera, Verdi assembles all his mainstay music theatre themes: power, with its honors and burdens; the contrasts of impossible love; the conflict between father and son; and an oppressed people demanding freedom. Verdi radically revised the score in 1883, using an Italian libretto and reducing the opera from five acts to four. The popularity of Don Carlo has grown unremittingly ever since, with today's critics almost unanimously recognizing it as one of Verdi's greatest masterpieces, an opera that continues to reveal new gems. Daniel Oren is fully in control on the podium, ensuring unanimity between orchestra and singers. The Maestro softens teh dark tones of the score, which are well reflected in the visuals, choosing instead to emphasize the various changes of mood.

First performed in French at the Paris Opera in 1867, Don Carlo is in many ways an amazingly innovative work. The opera seems to underline Verdi's shift from the Manichean division between good and evil, which had been a clear, structural element of his dramaturgy up to that point in his career. In this opera, Verdi assembles all his mainstay music theatre themes: power, with its honors and burdens; the contrasts of impossible love; the conflict between father and son; and an oppressed people demanding freedom. Verdi radically revised the score in 1883, using an Italian libretto and reducing the opera from five acts to four. The popularity of Don Carlo has grown unremittingly ever since, with today's critics almost unanimously recognizing it as one of Verdi's greatest masterpieces, an opera that continues to reveal new gems. Daniel Oren is fully in control on the podium, ensuring unanimity between orchestra and singers. The Maestro softens teh dark tones of the score, which are well reflected in the visuals, choosing instead to emphasize the various changes of mood.

A collection of live recordings of operas by Giuseppe Verdi, filmed at theatres in Liege, Palermo and Venice, and at the historical fortress of Tsaverets in Bulgaria. The operas featured are: 'Attilla', 'Luisa Miller', 'Il Travotore', 'La Traviata', 'Simon Boccanegra' and 'Falstaff'. The soloists featured include Orlin Anastasov, Ventsalav Anastasov, Darina Takova, Cinzia Forte, and Ruggero Raimondi.

GIUSEPPE VERDI Various artists & orchestra; (6 DVDs for the price of 2) GIUSEPPE VERDI: Nabucco; Ernani; Il Corsaro; I Vespri Siciliani;La Forza del Destino; Verdi Gala 2004.

This selection includes a book and a poster.

The Richard Strauss Project: Complete Works for Piano Solo,

This new release is the second volume of the complete solo piano works of Richard Strauss. The pieces selected for this second volume were composed during the composer’s childhood and adolescence, which makes them even more admirable as we see Strauss’s progressing talent. Most of the works featured on this album are world premiere recordings. Performing these works is pianist Dario Bonuccelli.

Giovanni Battista Viotti Mezzena, Carbotta, Balzaretti, Ayo, de Bernart, Gugliemo, Scheidermann, Kamilarov, Bosna The Musical World of Giovanni Battista Viotti