In some respects, Monteverdi's Orfeo (1607) is to the history of Italian opera what Dante's Divine Comedy is to the history of Italian literature: a masterpiece that stands at the very beginning of the journey. With Orfeo and the operas that followed it, Monteverdi had the substantial merit of immediately demonstrating the infinite possibilities of this new genre, which would leave an imprint on three centuries of European culture. In the present edition the French conductor Jean-Claude Malgoire is at the head of a cast of Baroque opera specialists. Subtitled in 7 languages.

MONTEVERDI L’Orfeo • William Christie, cond; Dietrich Henschel ( Orfeo ); Maria Grazia Schiavo ( La Musica, Euridice, Proserpina ); Les Arts Florissants; Les Sacqueboutiers de Toulouse • DYNAMIC 33598 (DVD: 113: 00) Live: Madrid 5/19/2008


This is the third L’Orfeo I’ve seen on DVD, and it’s a real success. In style it fits among the theatrical productions that use over 20 singers and over 20 players, even adding some supernumeraries to fill the stage. Yet as a performance it should stand comparison with the intimate versions that we have heard on CD recently, since Pier Luigi Pizzi, the stage director who also designed the sets and costumes, replicated the venue of the first production in the Mantua residence. This may suggest that adhering to the minimal personnel of the alternative interpretation (a dozen singers and a dozen players, more or less) is not really necessary, or simply that Pizzi imagines a pretty big palace. But he imagines well, for this is the best stage set, the best costumes, the best lighting, and the best camerawork of the three versions I’ve seen. It is simply the best theatrical production of an opera that I’ve ever seen on DVD (not that I’ve seen very many). All three were made in live performances (the Harnoncourt video of 1979 was pantomimed in a studio 10 months after the performance was recorded), but the audience manifests itself only twice at the ends of the two halves. Christie’s was a single performance of May 19, 2008, at the Teatro Real in Madrid, while Jean Claude Malgoire’s was made at Tourcoing in October 2004 (also for Dynamic) and Stephen Stubbs’s was made in Amsterdam in July 1997 for Opus Arte.


Henschel is a fine Orfeo, a good actor as well as singer, but it is interesting that he has made a career not in early music but in contemporary opera. Schiavo, a mesmerizing stage presence, outdoes herself in adding not just La Musica but also Proserpina to her main role. At least seven previous conductors allowed Euridice to double as La Musica, and Rinaldo Alessandrini assigned Proserpina to his Euridice, but no other singer has combined all three roles. This is Pizzi’s way of identifying Pluto’s wife with Orfeo’s beloved. Christie directs from the keyboards, seeing his role as comparable to the pianist for a Schubert Lied. There is not a weak member of the supporting cast, and Christie’s players, supplemented by the brass from Toulouse, maintain their longstanding reputation. The Madrid production was associated with La Fenice as well. This can replace any previous video of the work that you may have, for it is absolutely superb.


FANFARE: J. F. Weber
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Recorded: Teatro Real, Madrid, May 2008
NTSC All Region; 16:9; Dolby Digital 5.1/LPCM 2.0; Approx. 113 mins.
Subtitled in French, Italian, English, German & Spanish

"This is now the best version of Monteverdi's Return of Ulysses" -- Anthony Pryer, BBC Music Magazine

CLAUDIO MONTEVERDI (1567 – 1643):
Il ritorno d’Ulisse in patria, Dramma in musica in three acts

Kobie van Rensburg; Christine Rice; Cyril Auvity; Joseph Cornwell; Umberto Chiummo; Juan Sancho; Xavier Sabata; Ed Lyon; H. Bayodi-Nirt; Robert Burt; Marina Rodriguez-Cusí; Claire Debono; Luigi De Donato

Les Arts Florissants/William Christie

Pierluigi Pizzi, director; Roberto Maria Pizzuto, choreography
Recording: Teatro Real, Madrid, April 2009
NTSC All Region; DD 5.1/LPCM 2.0; 16:9; Approx. 175 mins.
Subtitled in Italian, English, German, French & Spanish

• Once again William Christie, Les Arts Florissants (celebrating their 30th anniversary at the time of this recording,) and Pier Luigi Pizzi converge as an inspired team in an exciting production.
• First Spanish performance of the opera on DVD and the second of the staged Monteverdi trilogy by the Teatro Real company, co-produced with La Fenice.
• This critically acclaimed new release of "L’Orfeo" on DVD has drawn worldwide attention.
• DVD includes interviews to W. Christie, K. van Rensburg and C. Rice.

"Last year we gave a performance here in the Teatro Real of Monteverdi’s Orfeo, this year we have Ulisse and next year Poppea. We’re no longer in Mantova and we’re no longer in the Court of the Prince. We’re in Venezia and essentially [at] the beginning of the public opera house. We’re also at the beginning of what will become opera seria, that’s to say beyond the instrumental colors, the great dances and the great pageants, [are] the beautiful effects of the singing, it’s bel-canto and so the orchestral accompaniment becomes simpler.
This is the essential difference between Orfeo and these last...two operas that were composed toward the end of his life. Orfeo is the beginning of the 17th century, the very beginning, the first ten years [and] he’s a young man, and Poppea and Ulisse are works of old age when he became a resident in Venezia. When Monteverdi was Maestro di Cappella of San Marco he is writing essentially for the new phenomenon, the Venetian opera house." - from William Christie’s interview 2008 included on in the DVD

MEYERBEER: Semiramide riconosciuta

Mercadante had lived in Spain, where his operas had been popular and appreciated, and it was here that he had started to think about an opera based on a typically Iberian subject to win the appreciation of the local public: the story of the king of the Asturias Pelagio, who in 718 (or, according to other sources, in 722) defeated the Arabs in the battle of Covadonga. The story have left a strong mark on the composer, for almost thirty years later, in 1855, he entrusted the production of a libretto to Marco D’Arienzo, who had already worked with him writing. First performed at the San Carlo theatre in Naples on 13th February 1857, Pelagio is the last but one of the operas that Mercadante saw on stage but in chronological terms, however, this was his last one.

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

Also available on standard DVD

Written almost two centuries ago by Saverio Mercadante, coveted by many theatres of the day, Francesca da Rimini was, in fact, never staged. Every time it was scheduled for performance, something happened and it got canceled. A long series of incidents prevented it from reaching the stage for as many as 185 years. Its forgotten manuscript, which was only known for its ill-starred fate, suddenly re-emerged five years ago in Madrid, teh city where it was to have been premiered in 1831. The soprano Leonor Bonilla is quite impressive in the part of the protagonist: she portrays the character's psychological frailty as well as her determination wtih a steely vocal technique, spinning out incredible modulations, displaying strong and dazzling vocalizations, easily soaring into the high register and flaunting such an attractive, casual and poignant stage presence that she even dares moving some dance steps with the corps de ballet. Aya Wakizono is an admirable Paolo: endowed with a superb mezzo voice, she seeks and achieves consistency throughout the range, is virtuosic in the coloratura, and fluent. No less demanding is the part of the tenor Lanciotto, with its fearful leaps and ornamentation worth of the Neapolitan Rossini: Mert Sungu might in time get rid of a touch of harshness here and there, but already now he can tackle all the difficulties of the part with a timbric quality and an expressively worth of note...

Written almost two centuries ago by Saverio Mercadante, coveted by many theatres of the day, Francesca da Rimini was, in fact, never staged. Every time it was scheduled for performance, something happened and it got canceled. A long series of incidents prevented it from reaching the stage for as many as 185 years. Its forgotten manuscript, which was only known for its ill-starred fate, suddenly re-emerged five years ago in Madrid, teh city where it was to have been premiered in 1831. The soprano Leonor Bonilla is quite impressive in the part of the protagonist: she portrays the character's psychological frailty as well as her determination wtih a steely vocal technique, spinning out incredible modulations, displaying strong and dazzling vocalizations, easily soaring into the high register and flaunting such an attractive, casual and poignant stage presence that she even dares moving some dance steps with the corps de ballet. Aya Wakizono is an admirable Paolo: endowed with a superb mezzo voice, she seeks and achieves consistency throughout the range, is virtuosic in the coloratura, and fluent. No less demanding is the part of the tenor Lanciotto, with its fearful leaps and ornamentation worth of the Neapolitan Rossini: Mert Sungu might in time get rid of a touch of harshness here and there, but already now he can tackle all the difficulties of the part with a timbric quality and an expressively worth of note...

Also available on Blu-ray

Written almost two centuries ago by Saverio Mercadante, coveted by many theatres of the day, Francesca da Rimini was, in fact, never staged. Every time it was scheduled for performance, something happened and it got canceled. A long series of incidents prevented it from reaching the stage for as many as 185 years. Its forgotten manuscript, which was only known for its ill-starred fate, suddenly re-emerged five years ago in Madrid, teh city where it was to have been premiered in 1831. The soprano Leonor Bonilla is quite impressive in the part of the protagonist: she portrays the character's psychological frailty as well as her determination wtih a steely vocal technique, spinning out incredible modulations, displaying strong and dazzling vocalizations, easily soaring into the high register and flaunting such an attractive, casual and poignant stage presence that she even dares moving some dance steps with the corps de ballet. Aya Wakizono is an admirable Paolo: endowed with a superb mezzo voice, she seeks and achieves consistency throughout the range, is virtuosic in the coloratura, and fluent. No less demanding is the part of the tenor Lanciotto, with its fearful leaps and ornamentation worth of the Neapolitan Rossini: Mert Sungu might in time get rid of a touch of harshness here and there, but already now he can tackle all the difficulties of the part with a timbric quality and an expressively worth of note...

MAZZONI Antigono • Enrico Onofri, cond; Michael Spyres ( Antigono ); Geraldine McGreevy ( Berenice ); Pamela Luciarini ( Demetrio ); Divino Sospiro • DYNAMIC 7686/1–3 (3 CDs: 196:58) Live: Grand Auditorium, Lisbon 1/21–22/2011


Antonio Mazzoni was a fairly prolific Italian composer in the middle and late 18th century (1717–1785), and he wrote Antigono for the opening season of one of the world’s shortest-lived opera houses: the Ópera do Tejo in Lisbon. It opened on March 31, 1755, and was destroyed seven months later by an earthquake. (Its site is now a navy dockyard.) The libretto is by the famed Metastasio, and Mazzoni was clearly considered an important figure in his time. Metastasio wrote the librettos of the only three serious operas performed in the seven months of life for the opera house in Lisbon, and the choice of Mazzoni to write the music for one of them demonstrates his reputation at the time. He wrote perhaps 19 operas (we aren’t sure), many of which have not survived. Antigono is performed here in a critical edition edited by Nicholas McNayr.


Some people argue that works that have been forgotten lie in obscurity for good reason. Others argue that there is often merit in undiscovered works, whether or not they reach the stature of greatness. I tend to fall into that latter category. Antigono is no undiscovered masterpiece; a good many of its arias go along like sewing-machine music, humming along without making real impact. However, there are a number of arias and ensembles that do hold the attention of the listener, and reward that attention. This is an opera that is neither great nor terrible, but in that vast middle range. It will provide pleasure to those who enjoy hearing something out of the ordinary. The musical style is best described as late Baroque, with plenty of vocal ornamentation required of the cast. There are some passages of striking originality, including a brief solo harp interlude before the final scene. This is the type of opera against which Gluck rebelled, but we don’t have to choose between Gluck and that which he opposed; we can have both. Dynamic’s performance is very well sung, despite the need for a large and accomplished cast of soloists. I do wish a more imaginative and energetic conductor were on the podium, though Onofri gets some energy going in the march in the middle of the first act, and in general manages real energy in the faster music. However, he doesn’t seem to be able to sustain the musical line or intensity at slower speeds and in the more gentle numbers.


Each of the six characters has at least one challenging aria that makes excessive technical and expressive demands. With four soprano roles, one would ideally like tonal differentiation, but that might be asking too much. What is remarkable here is that all four sing very well. We may be a generation lacking in the great Verdi and verismo singers that we had in the middle of the 20th century, but we surely have more fine Baroque and Classical singers who can turn out roulades and trills with ease. In addition to the four sopranos, the role of Alessandro is sung by a countertenor, and Martin Oro manages it fairly well but without the vocal ease of the great ones. The only traditional male voice in Antigono is the title character, sung by the American tenor Michael Spyres. His is a triumphant performance. His singing of his first aria “Tu m’involasti un regno” is jaw-droppingly spectacular in its technical feats.


I wish Dynamic had a more thoughtful approach to their productions. They make a libretto available on their web site, and I did download and print it, but it is an inconvenience. They could offer the set at two prices, with a higher one including the libretto. In addition, they have misspelled at least one and probably two of the names of their singers. Geraldine McGreevy uses the upper case “G” even on her own web site, but Dynamic spells it Mcgreevy throughout. And all other recordings and web site references to soprano Pamela Luciarini spell her name with one “c,” whereas Dynamic spells it with two. The notes about the opera are informative but the plot summary is rudimentary and too brief. The recorded sound is well balanced and clear, and the audience is not intrusive at all. The only applause we hear is at the ends of acts. Anyone with an interest in opera before Mozart is likely to find this of interest, particularly in this fine performance. It might even be preferable on a recording, because one can listen to one act at a time (each act is an hour or longer), and one can skip past some of the recitatives (sorry, purists).


FANFARE: Henry Fogel

A gorgeous performance from Eva Mei and Michele Pertusi with the Orchestra and Chorus of Teatro La Fenice in one of Massenet’s most loved and performed operas, Thaïs.

THAIS - Eva Mei, soprano; Michele Pertusi, bass-baritone; William Joyner, tenor; Christophe Fel, bass; Orchestra e Coro del Teatro La Fenice di Venezia/Marcello Viotti; Pier Luigi Pizzi, director, set and costume designer; Live recording

After the CD recording of Thaïs, which marked the beginning of Dynamic’s collaboration with Venice’s prestigious Teatro La Fenice, here is now the DVD version of this enthralling opera, by the captivating music and dramatic development. The title role, in this excellent production, is sung by an Eva Mei in great vocal form, who gives an interpretation of extraordinary depth. Beside her, the famous bass-baritone Michele Pertusi, as Athanaël, shows once again his unquestionable style. On the podium is Marcello Viotti, music director of the Venetian theatre. The story of the conversion of the beautiful courtesan, and the clash between spirituality and sensuality have been portrayed brilliantly by Pier Luigi Pizzi, one of today’s most talented opera directors. The visual quality of this production is indeed one of its strong points, and the DVD recording will not fail to fascinate the viewer. - French, English, Italian, German and Spanish subtitles. NTSC

Also available on standard DVD

Jules Massenet’s five act opera-comique is presented on this new release by Patrick Davin and his Orchestra of the Opera Royal de Wallonie-Liege. Manon is Massenet’s most performed opera, which has maintained its spot in the repertoire since its composition. The enduring opera “quickly conquered the world’s stages.” Annick Massis stars in the title role. The French soprano has enjoyed a long stage career, frequently performing in Mozart’s operas and many bel canto roles.

'- 2 DVDs | - All Regions | - NTSC | - Dolby Digital 5.1, DTS, PCM Stereo 2.0 | - Colour | - 16:9 | - 160 min.

Every operatic composer has a title that marks a turning point, one that raises him from being almost unknown to sudden fame. For B

JULES MASSENET: Michelle Breedt; Patrizia Ciofi; Carmela Remigio; Teresa di Bari; Alessandra Palomba; Giorgio Surian; Nicola Ebau; Bruno Lazzaretti; Riccardo Novaro; Emenuele Giannino; George Mosley; AlessandroPerucca; Orchestra & Chorus del Teaatro Lirico di Cagliari/Emmanu JULES MASSENET: Cherubin.

Mascagni’s “poème dramatique en deux actes” had its première in Monte Carlo on 16 March 1905, with Geraldine Farrar in the leading role. An Italian version was immediately staged in Rome. I presume that the only previous recording of this brief opera, recorded in Budapest in 1995 under Marco Pace and starring Katia Ricciarelli, was sung in Italian, so here we have a first for the original in French.

If beginnings were everything this opera would be at least as good as “Das Rheingold”. If, a bit more logically, we compare Mascagni’s dawn with Puccini’s prelude to Act III of Tosca, we must surely recognize the difference between the inspired natural poet and the cunning purveyor of effects.

The trouble with the cunning purveyor of effects is, they work so damn well. I’m prepared to give Mascagni the benefit of the doubt over his daybreak prelude, however. As the music gathers power and momentum the chorus here proves ragged and few in numbers, while the orchestra is short on strings. The booklet note-writer, Alberto Cantù, admits that the “Inno del Sole” from “Iris” is “something else again”, but I daresay this one would come off too, given a better chance.

This deeply poetic opening sets the stage for what is ostensibly a rustic village wedding in the foothills of the Piedmont Alps. In a series of dances and general invitations to merriment we may note the inventiveness of Mascagni’s orchestral colouring and his continual veering away from the stereotyped music which could so easily have been called upon for such a situation. Then comes the bridegroom-to-be and we get a tenor aria.

This, of course, is where the cunning purveyor of effects scores. Puccini at this point would have come out with something like “Recondita armonia”. Mascagni follows the words with vocal writing that is melodious and expressive without actually blossoming into a melody as such. But wait a moment, are we perhaps listening for the wrong thing? When a Richard Strauss opera breaks into a soliloquy for a leading character, with vocal writing which is similarly melodious and expressive without blossoming into a melody as such, we accept this happily because it’s what we expect. We therefore have to get away from the idea that Mascagni is trying to write a Puccini-tune and not quite managing it and listen more attentively to what he is actually doing. We may then appreciate the mastery of his orchestral backdrop, which in its motivic interest, thematic entwining and variegated colour places Mascagni firmly among the Middle-European post-romantics. Post-romantic, too, is the somewhat acidic tinge to the vocal lines. If we are reminded of Puccini, it is more likely to be the later Puccini of “La Fanciulla del West”, where he, too, began to head in this same direction.

Another problem – not Mascagni’s fault – is that we are used to hearing Puccini and Strauss better sung than this. David Sotgiu has a quite pleasing voice when singing quietly, and at first I wondered if he would be able to present the case for not singing this sort of music full blast. Alas, he fails to expand and drive the music home to us. And this is only the beginning … Giorgio is actually described as “fragile and suffering”, but opera is about suspended disbelief and a fragile Giorgio can’t deliver the goods any more than a fragile Butterfly or a genuinely tubercular Violetta.

Thus far, however, we might go along with the portrayal, since Giorgio, the presumed bridegroom, actually introduces in this aria the first blight on the idyllic scene, the first faltering suggestion that things are not what they seem. For this is an arranged marriage – arranged for fairly cynical reasons I won’t go into here – and the lady’s not going to play. Amica, we soon discover, is passionately in love with Giorgio’s “solid and vigorous” brother Rinaldo, who has been driven out of the home. However, while Amica rejects Giorgio’s overtures, she does not reveal who it is she really loves. Here, and in the subsequent confrontation with her foster-father Camoine, we find that Anna Malavasi has a voice that is not always soundly produced, but with something of the scale to get the music across. There is a frisson to the singing which has been lacking so far.

Rinaldo, in response to a letter from Amica, arrives on the scene. The two love each other as much as ever and Amica reveals the marriage that is being forced on her but, also in this case, does not say who the intended bridegroom actually is. Rinaldo curses the man “who seeks to have your love” and they flee to the mountains. Giorgio catches sight of them in the distance, without recognizing Rinaldo, and gives chase, intending to avenge himself on the “thief of love”. Just to add to the drama, a thunderstorm is brewing.

The music has by this time developed from its innocent, colouristic beginnings to a tense, darkly-hued symphonic web driving the action forward. Mascagni now gives full vent to his orchestral mastery with the longest of his many intermezzi – 10:18 in this performance. It should be said that, while the orchestra is rough and ready and the strings undernourished, Manlio Benzi has all the right ideas about how the music should go and this piece comes off pretty powerfully.

Act II takes place in a wild ravine. Giorgio confronts the couple, then draws back on recognizing Rinaldo. Rinaldo is equally astonished. At this point his fraternal love proves stronger than his love for Amica. He accuses the latter of having lied to him and, pitying his weak brother, who has now collapsed in a faint, renounces to her: “His ghost would always rise up between us; and if he lived, each kiss that you gave me would seem to be stolen from my brother”. “If you loved me”, he continues, “let your heart not be deaf to my begging voice … you alone hold Giorgio’s fate in your hands, make him a gift of your pity, of your love”. He leaves, clambering up the sheer rock face. Amica, still declaring her love for Rinaldo, attempts to follow him up the cliff, but falls into the torrent below. Giorgio has by now come to and as the opera ends Rinaldo attempts to rejoin his brother.

All this action is underpinned by powerful orchestral writing, basically a continuation of the intermezzo. Pierluigi Dilengite’s rather hoarse, barking baritone is unable to express much against this backdrop and even Anna Malavasi is reduced to ungainly shouting. This means that the effectiveness of the opera is not really proved either way. Could a Gobbi or a Taddei have given Rinaldo at this point the humanity which Mascagni evidently wants? Could a Callas have involved us emotively in Amica’s desperate final gesture (maybe Geraldine Farrar was able to do this)?

My worry is that, while I think this opera may be musically a masterpiece – it certainly exhibits rare mastery – it may fail to engage us at the human level we expect of an operatic masterpiece. Rinaldo’s sacrifice is, logically, completely useless and even silly. It’s obvious that the lady’s not for turning – he seems to expect her to switch her love from one to the other rather as a bath-tap switches from hot to cold water by moving the lever from left to right – so his own loss is of no benefit to his brother. Surely he could not have imagined otherwise? On the other hand, I’ve tried juggling the situation in my mind to produce a number of alternative endings, but most of them seem worse still. The cunning purveyor of effects might have thought of something, though, and exacted suitable changes from his librettist.

So what can we say? The musical riches of this opera demand a hearing. From this version you’ll get some idea of the orchestral mastery and the sureness with which it progresses from an idyllic beginning to a darkly dramatic conclusion in a short space of time. Anna Malavasi’s singing in the first act, at least, gives a fair hint of the sort of frisson the music could presumably have all through with a high-octane international cast. And, in spite of the positive judgement on Manlio Benzi, a Gavazzeni in the pit might have helped the singers by creating more transparent textures. Unfortunately I am unable to say whether the Ricciarelli/Pace version is any better. Michael Oliver’s Gramophone review (2/97) reports a fairly effective performance, very poorly recorded. The present recording has all the bangs and thumps we expect from a live theatre production but is technically more than acceptable. The likelihood of another version seems remote. It has become a truism among Mascagni lovers that his operas – post-Cavalleria – are a treasure-house of wonderful music which is in abeyance because the singers with the heft to cope with them are a lost breed. This is not the only recording which seems to prove them right on both counts.

-- Christopher Howell, MusicWeb International