DRAGONETTI: Double Bass Concerto / Works for Double Bass

• Gaetano Donizetti's Ugo, conte di Parigi, premièred at La Scala i1832 with, among other storied names in the history of Italian opera, Giuditta Pasta, the creator of Bellini's Norma. • The Orchestra and Chorus of the Teatro Donizetti is led here by conductor Gaetano Fogliani, currently teaching orchestral conducting at the Conservatory G. Tartini in Trieste. • “A vigorous, intense opera, broad and ornate, dramatic and intricate, full of alliances and clashes” – Piero Mioli

Revived after 171 years in oblivion, the staging of Rosmonda d’Inghilterra at Bergamo’s Teatro Donizetti proved fascinating for the Italian public. From the excellent cast of singers, Jessica Pratt and Eva Mei gave standout performances. The opera revolves around a tale of love and intrigue surrounding the main protagonists- the famous Queen Eleanor of Aquitaine, her husband Henry II of England, and the fair Rosamund de Clifford. Rosmonda is the quintessential innocent, unaware that the man she loves is the King of England and that she has unwittingly become a rival to the much-feared Queen Eleanor of Aquitaine. Eleanor, having already had her first marriage annulled for reasons of consanguinity, is unwilling to se her second marriage also fail. Only the faithful page Arturo, secretly in love with Rosmonda, knows that the Queen is aware of her husband’s betrayal; but he too is embroiled in this game of deceit hoping that he will end up winning the girl. The emotional and dramatic development is very effective. There is not a page in this score without some example of brilliant writing, a captivating theme, a moving passage. It all goes to prove how deeply original Donizetti was and how much there is still to be discovered about this underappreciated composer.

Revived after 171 years in oblivion, the staging of Rosmonda d’Inghilterra at Bergamo’s Teatro Donizetti proved fascinating for the Italian public. From the excellent cast of singers, Jessica Pratt and Eva Mei gave standout performances. The opera revolves around a tale of love and intrigue surrounding the main protagonists- the famous Queen Eleanor of Aquitaine, her husband Henry II of England, and the fair Rosamund de Clifford. Rosmonda is the quintessential innocent, unaware that the man she loves is the King of England and that she has unwittingly become a rival to the much-feared Queen Eleanor of Aquitaine. Eleanor, having already had her first marriage annulled for reasons of consanguinity, is unwilling to se her second marriage also fail. Only the faithful page Arturo, secretly in love with Rosmonda, knows that the Queen is aware of her husband’s betrayal; but he too is embroiled in this game of deceit hoping that he will end up winning the girl. The emotional and dramatic development is very effective. There is not a page in this score without some example of brilliant writing, a captivating theme, a moving passage. It all goes to prove how deeply original Donizetti was and how much there is still to be discovered about this underappreciated composer.

“Roberto Devereux” (1837) saw the light of day during a period of intense creativity for Donizetti. After its premiere and up until 1848, Devereux was performed almost uninterruptedly. In the years that followed it would also enjoy a successful international career, throughout Europe and in the Americas, with versions in French, German, Russian, and Hungarian. When Donizetti moved to Paris in 1838, he enriched the opera with the overture that paraphrases the British anthem “God Save The Queen.” The Queen dominates from her very entrance, a true protagonist, here performed by the great Mariella Devia: her pure voice, perfect intonation, great stage presence, all combined with the technical qualities of her voice, led to an extended standing ovation. It was a great success, too, for Sonia Ganassi (Sarah) and the tenor Stefan Pop (Devereux).

The thorny subject of marital violence is set against a hilarious backdrop in this one-act farce where, contrary to what we are used to seeing in opera, tenor and baritone do their best to free themselves of the female protagonist, to whom both are married. No doubt, Gaspar's aria on the joys of chastising one's wife in the way she deserves causes a few raised eyebrows nowadays, but the funny side is genuine and the music brilliant, making of this forgotten little opera a true gem. Donizetti composed Rita, ou Le mari battu, which would be staged posthumously at the Opera-comique on 7th May 1860, with Caroline Lefebvre as protagonist. The concise story of the waspish innkeeper Rita, her husband Peppe and first husband Gaspare, the latter believed dead in a shipwreck, unrolls in a single act, effectively divided into eight closed numbers: one aria for each singer, three duets, one trio and the finale. The apex of this delightful divertissement, both from the point of view of the action and the music, is the duet where the two men rival each other, albeit in a way that is diametrically opposed to what we are used to seeing on an operatic stage: instead of contending for the female protagonist, like all respectable tenors and baritones in love, they gamble her away, both desperately trying to lose. The writing is that of a consummate composer, flowing and refined. Characters are portrayed with terse effectiveness, situations never trespass into the grotesque. The result is a perfect balance of all elements, which makes of Rita a small but significant example of Donizetti's musical experience in the 1840s, an experience that can truly be called European.

Featuring:
Conductor: Claudio Scimone
Orchestre de l'Opera de Wallonie
Stage Director: Stefano Mazzonis di Pralafera
Scenes: Jean-Guy Lecat
Costume Designer: Fernand Ruiz
Choreographer: Antonaeta Alexieva
Rita - Priscille Laplace
Peppe - Aldo Caputo
Gaspar - Alberto Rinaldi
Opera Royal de Wallonie, 2010

After Il Fortunato inganno and La Zingara, the Martina Franca Festival has revived another neglected masterpiece by Donizetti, Pietro il Grande o sia il Falegname di Livonia. First staged in Venice in 1819, this work met with good success and was performed until 1827. The silence that followed is justifiable only on account of the enormous success reaped by works such as Elisir d’amore, Don Pasquale and Lucia di Lammermoor, for in Pietro il Grande there is no lack of inspiration and Donizetti’s creativity is, quite the opposite, generous and surprising.

Italian/English libretto included.

R E V I E W S:

" Pietro il Grande ossia Il falegname di Livonia was premiered to open the 1819-20 Carnival season at the Teatro San Samuele in Venice, a city that saw the birth of many of the light operas of the decade, including quite a few by Rossini. The premiere took place on Dec. 26, 1819. It was the fourth of Donizetti’s operas to be performed during his life, and the first of Donizetti’s to achieve any kind of performance history...
When I was first asked to review this recording, I expected a very Rossinian opera buffo. It is, to a large extent, but I was still able to see tiny glimpses of Donizetti’s own personality come shining through. An example is the lyric pathos of Annetta’s “veder l’amato bene” in the finale to Act I. There are other lovely numbers, including the duet for Pietro and the Magistrate: “Ser Decuppia siete voi”, definitely a forerunner of the delightful “Cheti, cheti” in Don Pasquale and Carlo’s aria “Il dolce nome e tenero”....
Martina Franca often uses unfamiliar, but talented young singers, as is the case here. I particularly enjoyed the Madame Fritz of Rosa Anna Peraino, the Pietro of Vito Priante and the intentionally obnoxious Magistrate of Giulio Mastrototaro. But the entire cast contributes to the success of the performance...
This is a recording I can recommend not only to Donizetti completists, but to all who appreciate Italian opera."
- Tom Kaufman, Opera Today

Composed for Venice in 1837, just a year-and-a-half after the fantastic success of Lucia di Lammermoor, Pia de' Tolomei "pleased altogether", in the composer's words. He revised it a couple of times thereafter and it was shown at various theaters as distant as Malta until 1855, after which it disappeared. It takes place in 13th-century Siena: Pia is married to Nello; his cousin Ghino loves her but she refuses his advances. Ghino angrily accuses Pia of adultery with an unknown man, who turns out to be Pia's brother, Rodrigo, and Nello imprisons her. Ghino eventually feels remorse and confesses his deception, but not soon enough to save Pia from being poisoned by Nello.

One of the formal weaknesses of the opera is that Rodrigo is a mezzo-soprano role, and that type of travesty never quite works; but even elsewhere, the fact that Pia is so passive, added to generally formulaic writing, keeps the opera from being a winner. Still, there are some fine Donizettian tunes and scenes, and it's worth hearing.

This live performance finds a remarkably committed cast struggling uphill against Donizetti's lack of true inspiration, but the singers turn out a satisfying experience in the end. The star is Patrizia Ciofi as Pia. She delivers a specific, focused reading, beautifully sung and filled with as much textual and tonal nuance as the score allows. Her voice has gained body in the middle and the top still gleams. Ghino is sung by tenor Dario Schmunck, and he exhibits a fine, ringing tenor and good Donizettian style; his opening aria and cabaletta and the second half of his duet with Nello are exciting, vigorous parts of the score, and he tears into them well. Baritone Andrew Schroeder has a nice snarl as Nello, but aside from the cabaletta to his duet with Ghino he has pretty ordinary music. Rodrigo is given similarly uninteresting music, and Laura Polverelli sings it well enough. The chorus sings with as much involvement as the cast, which is saying a great deal, and the orchestra plays with verve under Paolo Arrivabeni. Recommended for Donizetti completists.

--Robert Levine, ClassicsToday.com

Italian/English libretto included.

All Regions | NTSC | Dolby Digital 5.1, DTS, PCM Stereo 2.0 | Colour | 16:9 | 137 min.

In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire. Thus also Venice’s Teatro La Fenice, in a commendable effort, staged this Pia de’ Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in 1837, was ambiguous, so much so that Donizetti re-worked it as many as three times. The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer. The listener will undoubtedly wonder, once more, at Donizetti’s wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted, here, by Patrizia Ciofi. Subtitles in 7 languages.

First DVD recording
First recording of the new critical edition

R E V I E W:

A work far better than its reputation, an attractive production, splendid singing and acting.

Donizetti composed Pia de’ Tolomei during the summer and autumn of 1836 in Naples, where he was living at the time. In December he set out for Venice, where the premiere was planned for February the next year at the Teatro La Fenice He travelled via Livorno and Genoa but when he arrived in Genoa he was met by the news that the theatre had been destroyed by fire on the night of 12/13 December. He realized that there was a great risk that the premiere would be jeopardized. However the production was moved to Teatro Apollo and the premiere took place on 18 February 1837 as planned. Fanny Persiani, who had been the first Lucia di Lammermoor a couple of years earlier, took the title role. The opera was not an immediate success and Donizetti reworked it twice. The second time was for Naples in 1838, where the censors enforced important changes and a happy ending. The present production is based on the critical edition published by Ricordi, where the original tragic finale is restored.

History often repeats itself and on 29 January 1996 Teatro La Fenice was again destroyed by fire. After seven years of intense reconstruction work a Phoenix arose from the ashes. Its inauguration took place on 14 December 2003, almost to the day 167 years after that first disaster. When Pia de’ Tolomei was scheduled less than 1½ years later the performances were carried through without mishap and the result can be seen and heard on this wholly attractive set of DVDs.

“Why is it attractive? I’ve read that this is one the worst of Donizetti’s operas.” I can hear more than one jaded opera-freak’s distrustful grumble. Yes, I have read that too and I wasn’t all that hopeful when I started viewing. Things began badly by mistake I started playing the second disc first and ended up hopelessly at sea. “What has happened before and why don’t we know that?” was my reaction. I shouldn’t blame Dynamic but since the disc I put in my player was in its usual place on the right-hand side of the opened box and to the left was the booklet, I didn’t even notice the admittedly very large 2 on the label. Unfortunately disc 1 was obscured by the booklet. However, when starting from the beginning, I found the plot and layout fully comprehensible – which is not always the case with these more obscure operatic byways. The origin of the story is to be found in a few lines in Dante’s Divina Commedia and according to some scholars they refer to events in the poet’s own time, taking place in 1297. A poem on the subject had been published in 1822 and in April 1836 a play by Giacinto Bianco was staged in Naples. Donizetti must have known it and been inspired by it. His librettist Salvadore Cammarano was no mean author – no one can deny the dramatic qualities of Lucia di Lammermoor. This drama unfolds with few digressions from the main story in what is certainly a clear-cut libretto.

The plot goes along these lines: Ghino is in love with Pia but she is married to Nello, his cousin, and turns him down. In revenge he informs Nello that Pia is going to have a secret meeting with a lover. Her visitor is however her brother Rodrigo, who has just escaped from captivity. Rodrigo manages to escape Nello’s guards but Pia refuses to tell her husband who the visitor was and is condemned to imprisonment for life in his castle. Ghino visits her there and promises to set her free if she becomes his. She tells him who the visitor was and Ghino decides to tell Nello the truth. On his way he is attacked and mortally wounded. He manages to tell Nello about Pia’s innocence and Nello rushes to the castle to save her, since he has ordered Ubaldo to poison her. He arrives too late but before she dies Pia reconciles her brother to her husband. OK, this may not be a masterpiece of a story or a libretto but there are standard works that are not one iota better.

Secondly the music is fully worthy of the drama. Rarely in Donizetti’s operas is everything perfect. This was his 61st opera in twenty years – if we include often far-reaching revisions of some works. There was little time for him to go back and tidy up details. In most of his works he tends to lapse into clichés. That said, it is remarkable how often he avoids the temptation; how frequently he finds new expressions, new structures. In Pia de’ Tolomei he has long abandoned the recitative-aria-recitative pattern and builds long, continuous scenes – not seamless as later Verdi but still pointing forward to his brilliant successor. He is stuck in the aria-cabaletta pattern, rather along the same lines as middle period Verdi. In addition he far too often builds the cabalettas and other numbers on the almost mechanical rum-ti-tum rhythm with which we are also well acquainted from early and middle Verdi. But it really doesn’t matter as long as it is captivating – and very often with Donizetti it is. The opening chorus of act 2 – the first thing I heard in my reverse-order listening – is one stirring example. Rodrigo, a trouser role, has a rousing cabaletta in the dungeon scene in act 1 and in the same act there is a fine cabaletta duet for tenor and baritone that should be a splendid recital item. More original are Pia’s big solos which make her a close relative to the likewise ill-fated Lucia di Lammermoor. Technically this role requires the same amount of florid singing and sensitive pianissimo singing and it should be an attractive role for any good lyric-dramatic soprano. The leading tenor also has a couple of vocally and dramatically attractive arias. Then there is a beautiful duet for Pia and her brother Rodrigo – for soprano and mezzo-soprano – accompanied by plucked strings.

Thirdly the production is visually pleasing. The sets are of the modern-minimalist kind, with strict geometrical constructions and evocative lighting. Sometimes screens with texts are inserted. The costumes are timelessly-historical, if you can accept the contradiction in terms. The soldiers’ armoury could be anything from late 13th century to the Thirty Years’ War while Pia’s nightdress could be from the latest issue of Vogue. The grouping of the soldiers in the mass-scenes is also decorative though hardly based on dramatic necessity.

Fourthly the singing and acting of the principals is uniformly at the highest level. It has been a long time since I saw a DVD production with such high quality singing even from the comprimarios. Patrizia Ciofi’s Pia is ravishingly sung, deeply felt and convincingly acted. She seems in a state of mental disturbance from the very outset - an innocent victim. Technically speaking she is brilliant with fluent coloratura and the gift of delicate embellishments. Dario Schmunck is a lyrical and ardent Ghino – a singer I eagerly look forward to hearing again. His acting may be rather reticent but is still efficient. Andrew Schroeder is a powerful and dramatic Nello and sings with glowing tone. Laura Polverelli’s Rodrigo is also a character not to be taken lightly. In the smaller parts Carlo Cigni, sporting a magnificent basso cantante, is surely predestined for a grand career. The chorus have a lot to do, especially the male soldiery. They are vivid and powerful but not always the most homogenous of ensembles. The orchestra play well and Paolo Arrivabeni is obviously deeply inspired by this long neglected score.

Is it a forgotten masterpiece? Maybe not but it is far better than some works regularly performed and should not be returned to the archives for the eternal sleep. If it is, the Teatro La Fenice forces have seen to it that it will not be totally forgotten and opera lovers with a taste for the unusual should hasten to acquire this set. Technically this set is fully worthy of the occasion. There is a good booklet and subtitles are available in seven languages.

A work that is far better than its reputation, in an attractive production with splendid singing and acting. Should be snapped up by all opera lovers with a feeling for the unusual.

-- Göran Forsling, MusicWeb International

MARIA STUARDA. Carmela Remigio, soprano; Sonia Ganassi, mezzo; Joseph Calleja, tenor; Riccardo Zanellato, bass; Marzio Giossi, baritone; Cinzia Rizzone, soprano; Coro del Circuito Lirico Regionale Lombardo; Chorus Master: Valentino Metti; Fondazione Orchestra Stabile di Bergamo “Gaetano Donizetti” ; Conductor: Fabrizio Maria Carminati; Director and costume designer: Francesco Esposito; Set designer: Italo Grassi; Video director: Marco Scalfi

With the present release of this Donizettian masterpiece, recorded live in 2001, Dynamic makes an historic move, becoming the first Italian label to produce a DVD opera. This very high quality production by Teatro Donizetti di Bergamo features, in the roles of the two queens, Carmela Remigio (Maria Stuarda) and Sonia Ganassi (Elisabetta), two great artists here making a fine display of their excellent vocal and acting skills. Francesco Esposito’s direction and costumes, and Italo Grassi’s sets are very effective and superbly highlighted by the filming. What makes the release even more interesting is the use of a new critical edition made by the renowned Swedish musicologist Anders Wiklund for Casa Ricordi. The CD Booklet offers exhaustive liner notes, and plot and libretto in four languages. The DVD has subtitles in 6 languages (Italian, English, German, French, Spanish and Japanese), as well as interviews to the two female interpreters, the conductor, the director and the set-designer. This title is also available on CD (Dynamic 407/1-2).

La Favorite was premièred at Paris’s Opéra on 2nd December 1840. Its success was resounding and is witnessed by over 650 performances in that theatre between 1840 and 1904. The Italian version was staged for the first time in Padua in 1842. This recording dates from 1976 and brings us back to the times of Kraus, Cortez, Bruson and Siepi. Especially noteworthy are the Fernando of Kraus, a tenor endowed with a perfect technique and peerless vocal elegance, and the Alfonso of Bruson, a baritone voice of impressive splendour.

Also available on Blu-ray

This opera, which had fallen into oblivion, was revived in 1973 in the Dutch city of Zaanstad (the Saardam of the libretto) and staged at Bergamo’s Teatro Sociale as part of the Donizetti Festival in a new critical edition made for the Donizetti Foundation by Alberto Sonzogni. In the plot, the Tsar Peter the Great works incognito as a carpenter at the shipyard of Sardaam to acquire technical knowledge to carry back home. On the podium, the knowledgeable Roberto Rizzi Brignoli leads the orchestra of the Donizetti Opera, assisted by the internationally renowned cinema director Davide Ferrario. In the cast, Andrea Concetti (a successful artist who has sung throughout the world) is joined by singers who are emerging in the belcanto repertoire, such as Giorgio Caoduro, Juan Francisco Gatell, Irina Dubrovskaya and Aya Wakizono.

Giuliano: Symphony for Mandolin / Mandolin Concerto in G Maj

The first of two CDs of the complete piano sonatas – 88 sonatas in total – by Domenico Cimarosa played by Italian pianist Dario Candela. A first complete recording.

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

Also available on standard DVD

A MusicWeb International Recording of the Month!

Francesco Cilea, a Calabrian, is remembered principally today for his opera Adriana Lecouvreur (1902), He wrote several other operas but these are rarely performed. Quite a discovery, this is the world première on commercial video of Cilea’s three act opera L’Arlesiana (The Girl from Arles). It is directed by Rosetta Cucchia and is a co-production with Wexford Festival Opera. The Italian libretto by Leopoldo Marenco was based on the play L’Arlésienne (1872) by Alphonse Daudet one of the most celebrated of his collection of short stories Letters from my windmill (Lettres de mon moulin). It was Georges Bizet who wrote the incidental music to the play L’Arlésienne, adapted and produced by Léon Carvalho, which flopped although Bizet’s music prospered.

Originally in four acts, Cilea’s verismo score was first performed in 1897 at Teatro Lirico di Milano with a young Enrico Caruso in the role of Federico. Nevertheless in 1898 the score was revised as a three-act opera with a prelude added. Over the next 44 years Cilea made a number of revisions. In 2011 whilst going through the collection of Cilea’s papers in Palmi the Italian tenor Giuseppe Filianoti unearthed the manuscript of Federico’s aria Una mattina m’apriron nella stanza that had been cut from the four act version. Filianoti had the Una mattina orchestrated by composer Mario Guido Scappucci and it is here included in Act 3.

This psychological drama revolves around Federico, a young shepherd, who becomes increasingly infatuated with a mystery woman from Arles (L’Arlesiana). As his mental state deteriorates Federico’s infatuation becomes a dangerous obsession which the people around him are unable to assuage. The woman from Arles is traditionally never shown but here she is depicted by an actress with long red hair as an apparition that haunts Federico. In the traditional ending Federico jumps to his death out of a hayloft window, whilst in this production by director Rosetta Cucchi, our hero takes his life by slashing his own throat. The elephant in the room, and maybe one of the reasons why this opera is rarely performed today, is that the plot includes an important character which is Federico’s brother, referred to as L’Innocente, who is cognitively impaired and is described in the booklet as “mentally retarded”. Mental health can be a difficult subject to broach as several reviewers of recent productions fail even to mention L’Innocente. Running through the score is the prevailing theme of mental illness and it seems that Cilea during his youth witnessed his own mother’s mental breakdown.

Sarah Bacon’s set and Claudio Pernigotti’s costumes are mainly contemporary with the opera’s composition date except for a few modern touches. Bacon’s set is the courtyard of the whitewashed Provençal farm-house that by Act 3 has become the inside of a ward in a mental home with an elevated caged area for confinement.

Russian tenor Dmitry Golovnin plays the role of Federico. It took me some time to warm to Golovnin’s bright vocal, nevertheless by Federico’s famous Lament the 2 aria È la solita storia del pastore (track 14) a favourite of Gigli, Di Stefano and Pavarotti, Golovnin’s voice has opened splendidly displaying fluidity and focus. It’s a moving account with the anguished Federico lying on the kitchen table and his brother L’Innocente cowering underneath. In act 3 the tenor’s aria Una mattina (track 21) receives a splendidly moving rendition and Golovnin can be justly proud of his portrayal of the tormented shepherd.

Luckless and long suffering Rosa Mamai is given a characterful and suitably anguished portrayal by Annunziata Vestri. With plenty of steel in her expressive voice the Italian mezzo-soprano excels in her Act 1 Romanza Era un giorno di festa (track 6) and the great Monologue from Act 3 Esser madre è un inferno (track 23). Designer Claudio Pernigotti sees fit to dress Rosa mannishly in a grey jacket buttoned up to the neck rather in the manner of James Bond villains Dr. No, Blofeld and Drax.

Cutting a persuasive figure on stage, if dressed rather too stylishly for an old shepherd, was Stefano Antonucci as Baldassarre. Complete with limp and walking stick the compassionate Baldassarre dispenses sage-like advice that no one seems to heed. From Act 1 the old shepherd’s aria Come due tizzi accesi (track 3) and from act 2 Vieni con me sui monti (track 6) are effectively sung, expressive and focused by the Italian baritone who acts sensitively throughout.

The part of the demure and girlish Vivetta is capably sung by the Italian Mariangela Sicilia. Dressed mainly in grey and hiding behind her winter tweed coat and hat it was a surprise when Vivetta undresses down to her underwear in a pitiful attempt to seduce Federico. From Act 1 Vivetta’s Romanza Dalle fresche pendici is sung effectively by Sicilia with a bright, flexible and warm soprano, although, I am not entirely convinced by her diction.

Looking like a fearsome pantomime villain baritone Valeriu Caradja in the small role of swarthy horse-herder Metifio is suitably dark and angry.

It’s a local superstition that a child such as L’Innocente brings good fortune on a household. In this household only Baldassarre pays the boy any attention. Marked by a shock of blonde hair L’Innocente is played by counter-tenor Riccardo Angelo Strano. In what is more of an acting role L’Innocente does slightly contribute vocally but nothing too serious.

Francesco Cilluffo conducts his Orchestra Filarmonica Marchigiana with verve and assurance. Similarly the well prepared 'Coro Lirico Marchigiano V. Bellini' maintains the high standard.

As I expected from Dynamic, the sound quality is satisfactorily balanced and agreeable, being clear, if a touch lacking in warmth. In High Definition the picture quality is most pleasing with an excellent definition. The accompanying booklet includes translations of a splendid essay by Giancarlo Landini and an informative note by director Rosetta Cucchi. The synopsis provided is a traditional scenario and is not totally in step with what we saw on stage under Rosetta Cucchi’s direction.

Filmed at Teatro Pergolesi, Jesi, Ancona the video direction by Tiziano Mancini is admirable, employing cameras actively. This avoids fatigue or tedium. The audience at Teatro Pergolesi is only seen whilst taking their seats before curtain up. The camera fixes on the stage action and doesn’t break to any orchestral players in the pit for solos.

This is a strong production that generates considerable dramatic tension. For those with a particular interest in verismo this Cilea work is a real find and is easy to recommend.

– MusicWeb International (Michael Cookson)