Giuseppe Verdi - I Lombardi alla Prima Crociata
Teatro Regio di Parma
Daniele Callegari, Lamberto Puggelli, Roberto de Biasio, Michele Pertusi, Christina Giannelli, Dimitra Theodossiou, Roberto Tagliavini, Gregory Bonfatti, Jansons Valdis, Francesco Meli, Daniela Pini
Tutto Verdi, ARTE Live Web
Verdi's skill as a composer was clearly established by the time he came to write I Lombardi alla Prima Crociata in 1843, but he was also increasingly finding himself confined by public expectations, particularly after the success of Nabucco the previous year. In its first act alone, I Lombardi more or less sums just how adept Verdi was at establishing a dramatic situation, combining personal drama with political or nationalist sentiments, and driving it forward with a forceful musical accompaniment, but it also shows its constraints. As the opera develops, the quality of material that has largely been manufactured to fit conventional situations starts to wear thin, but there's nonetheless a lot of great Verdi to enjoy here.
Act I of I Lombardi alla Prima Crociata sets the tone well, if the tone you are striving for is Gothic melodrama overload. The Overture leads seamlessly into a prologue where a choir relates the backstory of a dispute - over a woman inevitably - that has driven two brothers apart. Pagano and Arvino are however about to be reconciled, Pagano welcomed back from exile. Despite appearances of contriteness however, Pagano wants vengeance and plans to abduct Viclinda, who is now Arvino's wife. The kidnap attempt is foiled, but it results in Pagano mistakenly killing his own father. The stage accordingly resounds with fervent prayers (Verdi controversially setting the 'Hail Mary' to music), dark curses ("Dreadful monster of Hell!") and dire pronouncements ("More than the fire and the serpents of Hell, terror consumes my flesh!").
It's fairly standard material for Verdi then, harking back even to his first opera Oberto, but it is certainly handled with greater aplomb here. What sets it apart from a standard family melodrama is the working of the material to incorporate wider political events and calls to duty. That comes with a passing announcement in Act I of preparations for a Crusade, which not only provides a wider sense of drama, but it gives the composer room to invoke some exotic colour in the musical arrangements when the location (and conveniently everyone involved) transfer over to Antioch and the Holy Land. The Eastern inflections feel a little forced, as does the obligato violin introduction to Act IV, and it's no surprise that Verdi attempts to reprise the success of the Chorus of the Hebrew Slaves by introducing stirring choral sections at every possible juncture, but it is nonetheless masterfully realised.
Unfortunately, the change of scenery does feel perfunctory, the questions of religion, war and differing beliefs coming secondary to the personal and romantic drama. There's an attempt to draw them together with the kidnapped Giselda falling in love with Oronte, causing the son of Acciano to consider converting to Christianity, but again, it feels more like Verdi, despite not being a religious man, is trying his hand at the writing of sacred music in all the prayers and devout sentiments expressed in the choral pieces. He does so marvellously, it must be said (if not quite at the level of the Requiem), contrasting hymns with the darkness of the murder, vengeance, parracide and the violent battles that take place. It's the kind of varied and colourful material that, with the addition of even more dramatic elements and ballets, made I Lombardi eminently suitable for rewriting in the Grand Opéra style for the Paris stage as Jérusalem.
Directed by Lamberto Puggelli, the staging of the work at the Teatro Regio di Parma (and released on DVD/BD as part of the Tutto Verdi collection) is almost completely period, traditional and theatrical in a way that suits the work. Conducted by Daniele Callegari, it's a very fine musical account of the work. Other than some strange choices of background projection images (Picasso's Guernica), the lighting and colouration reflects the colours of Verdi's score and the exotic locations. Sand, a few swords and armour scattered around and a huge wall at the back that takes on literal and metaphorical significance, create exactly the right kind of imagery and tone. The literalness is challenged only at the conclusion, where the City of God is invoked and the fallen rise, but it's perfectly in keeping with the heightened tone of the finale.
The singing is also of a very high standard with no weak elements at all, and there are plenty of interludes and scenes to extend the cast (Pirro, Acciano, Viclinda) and the colour of the work. Michele Pertusi is the baddie yet again playing Pagano/the hermit and does well to resist the kind of over-playing that some of the libretto seems to call for. Roberto de Biasio is a fine Arvino, though his is very much a lesser role than either Oronte or Giselda. Dimitra Theodossiou takes on the greater challenges as Giselda, including the fervent prayers and a near mad-scene at the feared death of Oronte. She's just tremendous, almost bringing the house down in Act III with Verdi's dramatic writing and arranging of events. Francesco Meli demonstrates a good Verdi tenor voice as Oronte, harmonising well with Theodossiou. Not Verdi's finest work then, but with this kind of performance, fully realised and revealing of its merits.
Giuseppe Verdi - I Due Foscari
Teatro Regio di Parma, 2009
Donato Renzetti, Joseph Franconi Lee, Leo Nucci, Roberto De Biasio, Tatiana Serjan, Roberto Tagliavini, Gregory Bonfatti, Marcella Polidori, Mauro Buffoli, Alessandro Bianchini
Tutto Verdi, ARTE Live Web
Composed in 1844 during the composer's 'galley years', Verdi's I Due Foscari is very much an Italian number opera, but it's a number opera par excellence. All the expected emotions and sentiments are there - stirring expressions of patriotism, pleas to God, arias of despair and calls for vengeance - but the development of the plot is far from the usual template, perhaps too far for the work to ever be a solid part of the composer's popular repertoire. There are however other compensations in this lesser-known Verdi that make it well worth seeing, particularly in this fine 2009 production from the Teatro Regio di Parma.
Visually, it's not an exciting production, but it is staged with a sense of understated grandeur that reflects its 15th century Venetian setting as well as suiting Verdi's intentions for the work and its sombre musical tone. Based on a work by Lord Byron, 'The Two Foscari', there's very little dramatic development in a story that is little more than a murder trial where we get to see neither the murder nor the trial. The accused is Jacopo Foscari, son of the Doge of Venice, who is charged with the murder of one of the Donato family and is to be judged by the Council of Ten. One of the Ten, Loredano, is a bitter rival who resists the pleas of mercy from Jacopo's wife Lucrezia, while the Doge himself knows that he can expect no special favours for his son because of his position.
Act I and Act II then consist mainly of Jacopo and his wife Lucrezia separately and together appealing to God, to the Diecie, to Justice and to the hope of the better nature of Man being revealed, but they are resigned to the expectation of cruelty, hatred, villainy and injustice. Even Verdi recognised in his letters to his librettist, Francesco Maria Piave, that Byron's work required more dramatic developments to engage the audience, particularly in Act I, but in reality nothing much happens. The only real dramatic conflict seems to be over who is the most affected by the situation, and in the end, that's probably the Doge, Francesco Foscari, torn between being a father and serving his duty (not an uncommon situation in a Verdi opera) finding that even as the ruler of Venice, his power is limited.
Dramatic developments might be few then, but with Verdi this is nonetheless enough to create a compelling drama. It helps if you have great singers to play these roles and, fortunately, the casting for this production in Parma is of the highest order. The names might be unfamiliar, but Roberto De Biasio and Tatiana Serjan as Jacopo and Lucrezia make the first two acts rivetting. De Biasio sings with clarity and purpose, even if the sentiments expressed in prison are fairly standard, as he awaits "a fate worse than death" in exile from his country and his family. Tatiana Serjan however is even more impressive and wins hands down over who is most affected by the charges against Jacopo, taking the largest role in the first two acts.
Act III however belongs to the Doge, and this role is in the experienced hands of Leo Nucci. He doesn't disappoint, his grave intonations perfect for expressing the weight of his character's personal conflict, so great this time that it drives him to his death. If Verdi's musical writing is still quite conventional in places, it's in such moments that his musical invention and experiments with instrumentation bring out the qualities of the work and the splendour of his approach to its construction. A numbers opera it might be, filled with numbers repetitively expressing conventional sentiments, but Verdi allows the intensity to build through the first two acts of I Due Foscari before hitting you with a powerful Act II finale and then following it with a showpiece for the baritone Doge.
The staging by Joseph Franconi Lee is in itself not terribly exciting. The sets are minimal representations of the wooden panels of the Ducal Palace and the prison, but shrouded in darkness they create an appropriately oppressive atmosphere. It's very straightforward and traditional in this respect, the director not even finding any means of representing the traditional scene of gothic horror in the prison cell. The visions here all remain in Jacopo's head. The colour schemes however are effective, the Ten in red, other official figures in black, with the Doge and his throne marked out in vivid gold against the warm brown tones of the Ducal Palace chambers. Nothing too exciting then, but the staging serves the historical context, the dramatic function and the musical tone very well.
Well staged, superbly sung, this then is as good an account of this rare Verdi work as you could possibly expect. I Due Foscari is not great Verdi, it's dramatically restricted by the conventions and the constructions of the number opera, but somehow Verdi manages to overcome its limitations. In some ways the opera is a work that is untypical of the composer, but at the same time it is characteristic of his attention to detail and his unerring ability to find exactly the right tone that best meets the dramatic requirements of the work. It might take you right to the end of Act III however to realise just how masterfully that is achieved.
Giuseppe Verdi - I Masnadieri
Teatro San Carlo, Naples, 2012
Nicola Luisotti, Gabriele Lavia, Giacomo Prestia, Aquiles Machado, Artur Rucinski, Lucrecia Garcia, Walter Omaggio, Davio Russo, Massimiliano Chiarolla
C-Major, Tutto Verdi - Blu-ray
Based on a work by Friedrich Schiller and composed just after his first attempt at adapting Shakespeare to the opera stage in Macbeth, I Masnadieri was another attempt by Verdi to put some literary weight behind his work. The work failed however to live up to its source and was not a success when it was first performed in London in 1847 with Verdi himself conducting. More conventionally structured than Macbeth, I Masnadieri is not the greatest Verdi by a long stretch and hasn't enjoyed the same popularity as its predecessor, but it's still Verdi all the same, and - as has been proven by some of the other obscure early works revived for this Tutto Verdi collection - with the right kind of production, even those lesser works can be highly charged and thoroughly entertaining. That's certainly the case with this 2012 production of from the Teatro San Carlo in Naples.
It's true however that the work is initially constrained by its conventional structure. Each of the principal characters are introduced in the First Act with cavatinas that express their nature and their ambitions - ambitions that are however to a large degree incompatible with one another. Carlo, the wayward son of Count Moor, expresses his desire to be welcomed back into the family and win back the love of his fiancee Amalia. Those hopes of reconciliation are however shattered by a letter from his father, so he throws his lot in with a gang of bandits and becomes their leader. The unfortunate letter has however been engineered by his younger brother Francesco. It's in his interest to have Carlo out of the picture - permanently if possible - even if it's only to make the old man believe he is dead.
Amalia then steps up to express her position and love for Carlo and is followed by Massimiliano, the Count, who bemoans the errant nature of his eldest son. The stagy conventionality of this introduction is matched by the apportioning of the roles according to type - the hero inevitably is a tenor, the love interest is a soprano, the villain is a baritone and the father is a bass. No surprises there. Having introduced the characters however, Verdi launches into the highly charged drama of the situation with his usual fiery treatment. Francesco's plan to have Carlo reported as dead is launched and it has a devastating effect. It might seem a bit over-the-top to have Amalia contemplate Carlo's sword with a message written in blood by Carlo even as he was dying, telling her to marry Francesco instead, but the plot has the desired impact, and more, as his father Massimiliano collapses and is believed dead.
The secret to making such material work of course - as is the case with all Verdi's early melodramas - is in the commitment and delivery of the performances. A production of I Masnadieri stands or falls based on the performers, more so than the staging, but thankfully, the Naples production is strong in both areas. The orchestra playing needs to be both sensitive and dramatic, and you only need to listen to the solo cello playing in the overture to see Verdi's intentions as well as gain some measure of how well that is achieved here. The singing performances if not quite perfect are impressive in the context of the live performance, which is where this comes to life, and are in accord with these intentions. Much rests on the situation of Carlo and Amalia in this respect and both roles are well catered for by Aquiles Machado and Lucrecia Garcia, but there are no real weaknesses here either in Giacomo Prestia's Massimiliano and Artur Rucinski's Francesco.
The staging is also supportive of the tone adopted for the work. Some might not like the idea of the non-period specific setting, but none of it changes the essential character of the work. Carlo and his bandits may be dressed like "dandy highwaymen" in long black leather coats and scarves, more likely to be riding bikes than horses in set designer Alessandro Camera's wasteland setting with the motto 'Libertà o Morte' (Freedom or Death) emblazoned with a skull as graffiti on the backing wall suits the tone well. Francesco's entourage too look like party goths, and threats are made with drawn pistols rather than swords, but everything fits perfectly with the mood and the dark intent of the piece and its insistence on drama above all else. Performance comes together well then with the score and the setting to make this an excellent account of I Masnadieri.
This 2012 production of I Masnadieri from the Teatro San Carlo in Naples is released on DVD and Blu-ray by C-Major as part of their Tutto Verdi collection. On Blu-ray the production comes across well, although there appears to be some minor image flicker in places. Audio tracks are PCM Stereo and DTS HD-Master Audio 5.1. The extra features contain the usual 10 minute Introduction, which places the work in the context of Verdi's career and gives an illustrated synopsis of the plot and characters. The disc is region-free, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese.
Giuseppe Verdi - Macbeth
Teatro Regio di Parma, 2006
Bruno Bartoletti, Liliana Cavani, Leo Nucci, Enrico Iori, Sylvie Valayre, Tiziana Tramonti, Roberto Iuliano, Nicola Pascoli, Enrico Turco, Davide Ronzoni, Ricardo di Stefano, Noris Norgogelli
C-Major, Tutto Verdi - DVD
There are quite a few versions of Verdi's Macbeth now available on DVD and BD, some of them using the composer's original 1847 version of the score, others working from the 1865 revision, some of them combining the best elements of both. Using the full 1865 version written for Paris, complete with ballet sequences, this recording of Macbeth from the Teatro Regio di Parma in 2006 is however simply one of the best. It's probably also one of the most straightforward in terms of a traditional period staging, but that doesn't mean that it's in any way lacking a strong meaningful visual sensibility, and there are even one or two curious conceptual elements to consider here as well.
Judging by the overhead air raid sirens and WWII searchlights that one can see during the opening credits and by the dress of the chorus sitting to the side like an on-stage audience, Liliana Cavani's production gives the impression of it being an audience from the 1940s watching a performance of Shakespeare's play in London during the war. Apart from the obvious war parallel, it's unclear what exactly the purpose of this is since it really has little impact on the actual main performance of the work itself, which is traditionally Shakespearean in look and intent. Whatever the intentions are, it remains nonetheless an impressive account, full of drive, each scene perfectly attuned to the dramatic content and to the precise tone that Verdi also sets for the work.
The strength of the work as a whole becomes evident in the final fourth Act, which can only have the necessary impact if everything leading up to it has been up to the mark. 'Patria opressa!' is delivered emphatically by the chorus, MacDuff's presence lending an air of tragic defiance to the horrors that Macbeth has laid upon the land. That's followed with a chilling Lady Macbeth sleepwalking scene and then an agonised Macbeth, slumped on the throne, alone in a darkened room, defiantly gripping a sceptre, wanting to believe in the weird sisters' prophesy that his position is secure despite the evidence to the contrary - 'Perfidi! All' anglo contro me v'unite!'. Only the fight scene leading to Macbeth's being bundled off the stage in his death scene is unconvincingly staged, but without the 'Mal per me' aria in the revised version of Macbeth, the impact here is indeed lessened.
Unusually for a performance of the 1865 version, this production even includes Verdi's added ballet music, with a full 10-minute sequence opening Act III's reappearance of the weird sisters. Like most ballet inserts they do hold back the dramatic flow to a large extent - which is why they are consequently often cut - and there's nothing particularly imaginative about the choreography here, but it's interesting to see an attempt made to integrate it into the work. The quality of the playing and the performances enhance the production here even further. It's a stirring, nuanced account on every level - a little overly controlled and measured perhaps by conductor Bruno Bartoletti, but the murderous intent of the work is handled with sensitivity and consequently it's powerful without ever being bombastic.
The singing is also everything you would expect from a production this committed to the intent of the work, with Leo Nucci giving a marvellous, intense and deeply involved performance that is full of feeling for the character of Macbeth. 'La luce langue' is usually a good indication for the measure of Lady Macbeth and Sylvie Valayre proves to be not only capable of meeting its demands, but she remains strong and consistent throughout the rest of the opera - as indicated above, for example, in the Act IV sleepwalking scene. There are no weak elements either elsewhere in this Macbeth's Banquo (Enrico Iori) or its MacDuff (Roberto Iuliano).
This 2006 production of Macbeth from the Teatro Regio di Parma is released on DVD and Blu-ray by C-Major as part of their Tutto Verdi collection. Viewed on DVD, the production looks and sounds well, with a widescreen transfer and audio tracks in PCM Stereo and DTS 5.1, the surround mix in particular packing a punch. The extra features contain the usual 10 minute Introduction, which places the work in the context of Verdi's career and gives an illustrated synopsis of the plot and characters. The DVD is region-free, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese.
Giuseppe Verdi - Attila
Teatro Verdi di Busseto, 2010
Andrea Battistoni, Pier Francesco Maestrini, Giovanni Battista Parodi, Sebastian Catana, Susanna Branchini, Roberto de Biasio, Christiano Cremonini, Zyian Atfeh
C-Major - Blu-ray
By the time he came to write Attila for La Fenice in Venice in 1846, Verdi had firmly established, consolidated and refined a style and a structure that would be recognisable in nearly all his subsequent works. Attila is made up of a number of stock situations involving war, vengeanace, romance and betrayal and Verdi packs it with big dramatic numbers and choruses that match the intensity of the emotions. There's nothing inspired here however, nothing that provides any great insights or revelations into the characters or human behaviour. Even worse, there are no great memorable arias or musical numbers.
Dramatically however there's never a dull moment in Attila. Much of the reason for that is down to Verdi's sense of arrangement and his scoring for situation. You can see how all the elements that are to define the drama and the conflict are laid out forcefully, strongly and concisely in the opening scene. Here you have all the euphoria of the Huns' victory in the capture and plunder of Aquilera mixed in with the shame of defeated. In Attila's sense of invulnerability and the proud defiance of Odabella, the daughter of the defeated king, you have the sowing of the seeds of a deeply personal revenge that is only heightened by Odabella's appearance of compliance and subservience. It may be feigned, but her lover Foresto doesn't know that, and just to add further emotional turmoil to the situation, he accuses her of unfaithfulness to him, her father and her country.
And there you have the typical Verdi dramatic situation that stirs the emotions like nothing else, particularly when the composer directs it towards the people of an Italian nation seeking its own independence. The situation between the Roman general Ezio and Attila emphasises the position further. Ezio seeks agreement that Attila will venture no further into Italy, but buoyed by success Attila refuses. "In vain! Who now can restrain the onslaught of the consuming wave?", as the colourful libretto by Francesco Maria Piave and Temistocle Solera puts it, and the intensity of the sentiments in this powerful stand-off situation between two formidable warriors who are respectful of the position of each other is matched by the grave intonations of Verdi's scoring for the bass/bass-baritone roles that play those parts.
The qualities of Verdi's dramatic writing are all there then and the cast for this 2010 production of Attila at the Teatro Verdi di Busseto are more than capable of bringing them out. The theatre - seen previously in the 'Tutto Verdi' release of Oberto - has a tiny stage that you'd scarcely think capable of putting on a work as big and ambitious as this. The use of 3D-CG projections in Pier Francesco Maestrini's direction might not be the ideal solution, but it's a reasonable means of covering the epic settings of battlefields, ships, stormy seas, Roman camps and forest glades. It's a little cheesy, but probably no more so than painted backdrops, which would be the only other feasible option for a stage this size. (In the case of Oberto, Pier' Alli went mainly for minimal props and plain dark backgrounds).
There's still not much room for the singers to do anything more than stand and belt out Verdi's big numbers, but the costumes, the stage directions and the performances all make reasonably good use of the limited resources. Occasionally, for no other reason than having no room to do anything else, the singers run off the stage and back on again to finish their number. The singing performances are mostly fine. If they lack some precision in places the voices are at least all more than big enough for the work and the size of the theatre.
Giovanni Battista Parodi is a fine Attila, and if he doesn't particularly come to life, that's as much to do with Verdi's writing. Robert de Biasio has a classic Italian tenor voice for Foresto. He's not always on the note, but in the context of the live performance, it's fine and he makes a good overall impression. Susanna Branchini's technique could do with some refinement and doesn't have the smoothest legato, but she also gives Odabella all the force and character required. No problems however with Sebastian Catana, who makes a fine Ezio, but this is perhaps the only convincing character in the drama.
The Blu-ray here is part of C-Major's 'Tutto Verdi' collection. The quality of transfer is reasonably good. There's a little bit of flicker in the image but it's generally stable and detailed. The audio doesn't quite have the pristine clarity we expect from High Definition and there's very little surround presence on the DTS HD-Master Audio 5.1 mix, but it's fine and it gets across the forceful delivery of the opera as conducted by Andrea Battistoni. The BD is all-region, BD25, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese subtitles.
Giuseppe Verdi - Giovanna D'Arco
Teatro Regio di Parma, 2008
Bruno Bartoletti, Gabriele Lavia, Evan Bowers, Renato Bruson, Svetla Vassileva, Luigi Petroni, Maurizio Lo Piccolo
C-Major
By the time Verdi came to compose Giovanna D'Arco in 1845, the composer was eager to take on more substantial works of literary merit with the kind of romantic scope and emotional range that suited and appealed to his musical sensibility. He had engaged the young poet Francisco Maria Piave to work on his Victor Hugo adaptation, Ernani, and he would soon come to tackle his first Shakespeare work with Macbeth the following year. For Giovanna D'Arco, Verdi found inspiration in Friedrich von Schiller's story of Joan of Arc, finding material for a true dramma lirico that was a match for his developing talent, but also clearly responding personally to the revolutionary sentiments that echoed with the contemporary reality of Risorgimento Italy.
The grand epic nature of the story and Verdi's responsiveness towards it is immediately evident in the composer's scoring for the overture and in his personal reworking of the material. The first Act alone establishes a strong and stirringly emotive context for the drama that unfolds. Set during the 100 Years' War in 1429, King Charles VII of France (Carlos in the opera) announces - to the dismay of his followers - his abdication from the throne, and the necessity of surrendering to the English in order to spare his people from further suffering. He resolves to lay down his weapons at a shrine to the Virgin Mary that has appeared to him in a dream.
Despite the warnings of his followers that the shrine he describes exists in the nearby village of Domrémy, but that it is a cursed place, Carlos goes to the shrine and is inspired by the passionate figure of Joan he discovers there. Empowered by heavenly spirits to be an emissary for the Virgin Mary, Joan wishes to bear arms against the English in a holy war. Her father however, believes Joan to be in league with the devil, and betrays her to the English by turning her own followers and the King against her. In Verdi's version of the work - quite different from Schiller's work and the known historical accounts of Joan of Arc - Joan's dilemma is depicted as being one of maintaining a sworn vow to remain pure from serving any earthly love, but the young warrior is unable to keep back her feelings for the king, feelings that are reciprocated by an admiring Carlos.
Giovanna D'Arco therefore deals with a classic high Romantic subject in the conflict between love and duty, caught up in a tense dramatic situation that involves war, revolution, family and religion - subjects that Verdi would often deal with, and there's a similarity between this work and something like La Forza del Destino. While later Verdi would be more refined in characterisation and dramatic development - neither Giovanna D'Arco nor Macbeth are matches for the later Schiller and Shakespeare adaptations of Don Carlos or Otello , nor indeed is earlier Ernani comparable to his work on the later Hugo Rigoletto - but Verdi's earlier work has its attractions, principally here in the composer's beautiful melodic line and the consistency of his treatment of the opera's themes. Broken down into Grand Opéra-like scenes - the King's vision, the chorus of angels and demons in Act I alone - the construction may be conventional and not exactly inspired but it is exceptionally well crafted, pointing clearly towards the direction and the strengths of the later Verdi.
The quality of this rarely performed and underrated work is made evident here in this 2008 performance at the Teatro Regio di Parma's Verdi Festival through a handsome production that is sympathetic to the style and nature of the work, and it also benefits from some excellent singing performances. Other than a painted backdrop depicting a Risorgimento cavalry charge - nothing more than a hint of what might have been on Verdi's mind while composing - the production design and costumes are traditional and naturalistic to the Joan of Arc story itself. It's beautifully lit and staged, transforming smoothly from one scene to the next, finding an appropriate look and tone that brings out the full impact of each highly charged situation. The placing of the performers - the stage often filled with the huge choruses composed by Verdi - also works to the best dramatic purpose, with little in the way of stagy theatrics or operatic mannerisms.
The singing of all three lead roles is excellent. Svetla Vassileva's performance - as it ought to be for a figure like Joan of Arc - is powerful, impassioned, lively and precise in delivery, working fully in the spirit of the work itself. If there are any reservations about Evan Bowers' performance as Carlos, they are only in respect of the writing for the role itself. It's a similarly committed performance, well sung and acted, that works marvellously in the context of the work. Renato Bruson sounded a little unsteady in his first scene, but is solid where it counts later in the opera, as vocal challenges rise correspondingly with the emotionally charged dramatic developments. The orchestra, conducted by Bruno Bartoletti, and the chorus are also in fine form here, the cast and production working in common accord to present about as good an account of this rare Verdi work as you could imagine.
This recording of Giovanna d'Arco is released here on Blu-ray as part of the 'Tutto Verdi' series from C-Major, a collection that is made up of performances of all Verdi's opera work recorded at the Teatro Regio di Parma. Some trailers for other works in the collection are included on the disc, as well as a visual introduction/synopsis for Giovanna d'Arco. The quality of the HD image is excellent, with good detail even in the darker scenes. There audio tracks are PCM Stereo and DTS HD-Master Audio 5.1 and both give a warm, clear account of the invigorating music, chorus and singing. The Blu-ray is all-region, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese.
Giuseppe Verdi - Ernani
Teatro Regio di Parma, 2005
Antonello Allemandi, Pier' Alli, Marco Berti, Carlo Guelfi, Giacomo Prestia, Susan Neves, Nicoletta Zanini, Samuele Simoncini, Alessandro Svab
C-Major
George Bernard Shaw may or may not have had Ernani in mind when he came up with the generic definition of an opera plot as being about a tenor and a soprano who want to make love but are prevented from doing so by a baritone, but Verdi's opera matches this description remarkably closely. Based on Victor Hugo's historical drama, 'Hernani', Verdi's Ernani is very much a product of its time, seeped in arch-romantic sentiments of honour, nobility, love, duty, betrayal and revenge, and Verdi's musical treatment of the subject can be seen as somewhat academic, adhering closely to the Italian operatic tradition of the time, writing for particular voices in certain roles. It's how the voices are used in this work however that makes all the difference.
What distinguishes Ernani from other historical romantic dramas of this type, and provides a degree of variation from the GB Shaw template, is that there is not just a tenor and a baritone competing for the hand of the soprano in question, but Verdi also makes use of a bass as an extra cog to his musical wheel. What makes Verdi's handling of the subject interesting in this early work of the composer however is not so much the apportioning of those characters to the conventional singing roles, but in how Verdi develops the musical expression of those types in a way that would determine and set archetypes that he would often come back to over the years, particularly in how he manages to brings them together into a single musical and dramatic unit.
Essentially then, for all the romantic exoticism of the Spanish setting, with Don Juan of Aragon forced into hiding and taking the disguise of the bandit Ernani, his romance with Elvira under threat not just from her impending marriage to Don Ruy Comez de Silva, but from a rivalry with king in waiting Don Carlo, Ernani fits very much into the mold of the by-the-numbers romantic melodrama. It would be certainly lacking in any kind of dramatic credibility that would engage a modern-day audience where it not for Verdi's skillful writing for the voices. Working for the first time with the poet Francesco Maria Piave, Verdi taking the upper hand with a clear idea of how he wanted to express the drama, Ernani is consequently wonderfully structured and skillfully arranged, the scenes played out with musical consistency and fluidity that doesn't call for the action to be halted in order for the singers to step forward and do their singing pieces.
Or at least, ideally, that's how Ernani ought to be played. With the right kind of singers and direction, it shouldn't be as dramatically rigid as it is presented in this 2005 production for the Teatro Regio di Parma, but unfortunately, neither the singers nor the direction are fully up to the task. Directed by Pier' Alli, the set and costume designs are old-fashioned and period - which is fine and suits this particular work - but there's no reason why it should also be presented in the old-fashioned 'park and bark' style, the singers all standing, looking out, gesturing and delivering the lines as if there were asides to the audience rather than directed towards the other characters in the drama. In some cases the drama can indeed to be rather expositional and declamatory, but through duets, trios and choral arrangements, and in the very tone and blending of the voices, Verdi strives to make it much more interpersonal - but in order to achieve that, you don't just need stronger direction and some dramatic input from the cast, you also need good singers.
It's for this reason that I used the term 'park and bark' above rather than 'stand and deliver' to describe the performances, because, unfortunately, there's more barking than nuanced or even accurate delivery of Verdi's vocal writing, and the weakest elements are actually the roles where it really needs to be tighter and more expressive - Elvira and Ernani. Marco Berti and Susan Neves both have their
moments - Neves notably in the highly-charged third scene where she
holds steady alongside the imposing Carlo of Carlo Guelfi and the grave
intonations of Giacomo Prestia's Silva, but elsewhere they are
terribly uneven. Guelfi is undoubtedly the best there is here,
bringing a real sense of the power, danger, nobility and clemency that
his character proves to be capable of, but alone and under this stage
direction, it's never enough to convey the true worth of the
arrangements.
The singing and the staging leave something to be desired, and unfortunately the musical presentation under Antonello Allemandi is similarly uneven. This is certainly disappointing and surprising, as the Allemandi and Alli team work much better together in the Teatro Regio di Parma recording of Oberto that is also available on Blu-ray as part of this collection. This isn't entirely a bad performance of Ernani, just a rather uneven one that at its best never really rises above merely average. Ernani however, for all its flaws as one of Verdi's earliest works, surely deserves more than that.
This recording of Ernani (previously released on DVD by Dynamic) is released here upgraded to HD in a Blu-ray release as part of the 'Tutto Verdi' series from C-Major, a collection that is made up of performances of all Verdi's opera work recorded at the Teatro Regio di Parma. Some trailers for other works in the collection are included on the disc, as well as a visual introduction/synopsis for Ernani. The quality of the HD image is generally very good, although one or two scenes lack the same kind of detail that can be seen elsewhere and some of the camerawork is a little bit rough in places. There are no problems with the audio tracks, both the PCM Stereo and DTS HD-Master Audio 5.1 sound clear and strong. There are however one or two curiosities in the English subtitles, but nothing significant. The Blu-ray is all-region, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese.
Giuseppe Verdi - Un giorno di regno
Teatro Regio di Parma, 2010
Donato Renzetti, Pier Luigi Pizzi, Guido Loconsolo, Andrea Porta, Anna Caterina Antonacci, Alessandra Maranelli, Ivan Magri, Paolo Bordogna, Ricardo Mirabelli, Seung Hwa Paek
C-Major
Popular wisdom would have it that Verdi was not entirely at home in the genre of comic opera, and history more or less backs this up. You could say that it took him all his life to get to the stage where he was capable of bringing the full wealth of his talent and ability to the genre in his magnificent final work, Falstaff. It's possible also though that it took that length of time for Verdi to get over the abject failure of his first attempt at comic opera writing with his second work, written when he was 26 years old - Un giorno di regno.
A 'melodramma giocoso in due atti' - a comic melodrama in two acts - there are indeed some operatic conventions found in Un giorno di regno that one would not associate with the typical Verdi opera (harpsichord-accompanied recitative!), but unfortunately - in as much as they prove to be inappropriate for comic writing - there are also touches that are very much characteristic of the composer. In Verdi's hands neither prove helpful to the making the opera work, but a strong stage production and good singing at this very rare performance of Un giorno di regno at the Teatro Regio di Parma make this a fascinating experience even if it can't quite go as far as rescuing the reputation of Verdi's early failure.
There's not much one can do however about the fact that the comedy element of Un giorno di regno is really not that funny in the first place. Set in France, around 1733, the Chevalier Belfiore is staying at the Château of Baron Kelbar in the guise of Stanislas, King of Poland, while the real Stanislas secretly leaves the country to return to defend his throne. Belfiore wants to drop the disguise as soon as possible, since the baron is about marry his widowed niece, the Marquise del Poggio, to Count Ivrea. Belfiore is in love with the Marquise, but since he has disappeared to take on the role of Stanislas, she believes that he has abandoned her - although the king looks strangely familiar to her. To add further confusion to the romantic complications, the baron has planned for a double wedding to marry his daughter Giuletta to the Treasurer, La Rocca. Giuletta however is in love not with La Rocca, but with his nephew Edoardo, who loves her in return, but is poor and therefore an unsuitable match.
It's a standard comic set up of the romantic complications that arise from arranged marriage mismatches and secret or hidden identities of characters in disguise. The twist in Un giorno di regno, which could be translated as 'King for a Day', is that Belfiore realises that he can take advantage of the powers that he has been temporarily gifted with on the blessing of Stanislas, and has the ability to make some royal commands and appointments that will sort out the business between Giuletta and Edoardo. As for his own romantic situation, well, he can only hope that his "reign" will end in time for him to reveal his true identity and claim the hand of the Marquise.
It's not a plot that is entirely bereft of comic potential. Rossini had to make much out of thinner material than this, and Verdi seems to have at least learned that much from Rossini, scoring with vigorous arrangements that build in tempo towards explosive ensemble finales. Verdi however lacks Rossini's lightness of touch, and what would be an amiably riotous situation in a Rossini opera, rises into a rousing bombastic declamation in Verdi's hands. While it's fascinating to see just how Verdi develops those situations in his own distinctive way - particularly with a view to what comes later in the composer's career - they prove however to somewhat work against the comic potential. In one scene, for example, where the young love has been frustrated by the plans of others for personal and political gain, you can hear Verdi straining for the melancholy tragedy of Don Carlos or La Traviata, instead of playing up the comic element of the contrast between La Rocca drawing up military plans while the real "enemy", Edoardo, woos his intended Giuletta. The music is gorgeous and cleverly arranged, but it doesn't really establish the right kind of buffo tone that is required by the situation.
Neither really does the stage direction. The best thing you can say about Pier Luigi Pizzi's direction is that it is unobtrusive and doesn't draw attention to itself in any way that detracts from the musical drama. It's generically opera period in design and costumes, with columns, bookcases and tables that reflect the mansion locations and gardens, and it's well arranged as far as putting figures into the right places and keeping the dramatic action flowing without too much standing around going on. It doesn't however attempt to add anything to the comic situations that might enhance or even improve the weaknesses in Verdi's musical direction. The stage direction gets the balance right to the extent that it flows along wonderfully without it ever jarring in any way, taking you along with the flow, but it's not particularly adventurous and this opera could use an injection of a little more humour.
Fortunately, the singing is all-around terrific, giving as fine an account of the work as you could hope for. The younger singers come over best, Alessandra Maranelli's sweet sounding mezzo-soprano and Ivan Magri's strong but lyrical Edoardo working well together, finding a good balance between the Verdi sound and the Rossinian. The others however are just as good - Guido Loconsolo as Belfiore, Andrea Porta as Baron Kelbar, Anna Caterina Antonacci as the Marquise and Paolo Bordogna as La Rocca, all managing to bring a degree of character to their roles, singing well, working with each other and with the comic-timing of the piece.
Un giorno di regno is the second release in the 'Tutto Verdi' series from C-Major, a collection that is made up of performances of all Verdi's opera work recorded at the Teatro Regio di Parma. Some trailers for other works in the collection are included on the disc, as well as a visual introduction/synopsis for Un giorno di regno. The quality of the HD image and sound - in PCM Stereo and DTS HD-Master Audio 5.1 - is marvellous. The Blu-ray is all-region, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese.
Giuseppe Verdi - Oberto, Conte di San Bonifacio
Teatro Regio di Parma, 2007
Antonello Allemandi, Pier' Alli, Mariana Pentcheva, Fabio Sartori, Giovanni Battista Parodi, Francesca Sassu, Giorgia Bertagni
C-Major
Verdi's first opera, written when he was 26 years old, might lack the musical sophistication and dramatic characterisation of his late masterpieces, but Oberto, Conte di San Bonifacio was good enough to open at La Scala in Milan in 1839, where it enjoyed a modest success, and it's a prototypical full-blooded early Verdi work that already has many of the elements that we associate with the composer. There's a historical subject based around war and revolution and an arranged marriage - but it's not Don Carlos by any means - there's a young woman whose father is outraged that she has been seduced and abandoned by a rakish noble - even if it can't stand up alongside Rigoletto or Simon Boccanegra or any of the other Verdi operas that deal with the father/daughter relationship. Oberto rather sticks closely to the established format and subject matter of the 19th century Italian number opera, but Verdi's dramatic flair, his ability to underscore those key moments with the most stirring and passionate arrangements is evident nonetheless and those qualities are brought out exceptionally well this production.
There's not a lot of dramatic action as such in Oberto. Much of the important events have already taken place, leaving the principal characters involved to fume their displeasure and deep feelings of love, betrayal, anger and desires for revenge at the start of the opera through a series of cavatinas and cabalettas. At the centre of the drama - like many of Verdi's works - is a father/daughter relationship that has been affected by war and revolution. Oberto, the Count of San Bonifacio, has been driven into exile, leaving behind his daughter Leonora. Leonora in his absence has been seduced by Riccardo of the Salingherra family - Oberto's sworn enemies - under a false identity. With Riccardo about to be married now to Cuniza, the sister of Ezzelino, an influential ally, Leonora bemoans her shame and Riccardo's betrayal. Her father Oberto however has secretly returned and incensed by what has happened, he urges his daughter to go speak to Cuniza and avenge her honour, turning up before the wedding to resolve the matter himself in the traditional fashion of a duel. It's pretty standard plotting then, the drama driven by a series of arias/cabalettas, but Verdi brilliantly whips this up into something utterly compelling by adding trios, quartets and choruses to create an explosive atmosphere in manner that makes it impossible not to get swept along.
Recorded in the small, intimate surroundings of the Teatro Verdi di Busseto, this 2007 production settles for a relatively traditional setting that has an appropriately theatrical feel to it. There's nothing too ambitious attempted, the costumes are theatrically period, the sets are confined to backdrops, with minimal use of props and the stage - small as it is - left clear and open for the singers to step forward and let fly. In the absence of any real dramatic interaction, the director Pier' Alli merely gets the performers to stand looking out, look sincere, strike a few dramatic poses and make some curious sweeps of the arms and hand gestures. The presumption - a big one possibly for what is after all Verdi's first opera - is that the music and singing alone will be enough to carry the full force of the work. Fortunately, while it's not left to rest entirely on the shoulders of the performances - the lighting and setting providing an effective and appropriate mood for the work - this turns out not to be an entirely unreasonable assumption.
The singing is generally good, but in such a stripped down production and with the musical arrangements as they are, there's nowhere to hide any weaknesses. There are no concerns at all however with the male tenor and baritone roles. Fabio Sartori gives a gutsy performance as Riccardo, pitching his performance perfectly for the tone of the work and the scale of the theatre, while Giovanni Battista Parodi's Oberto is similarly well-judged, striking the right note as the outraged father looking to restore his dignity without taking it overboard. Mariana Pentcheva also gives a performance of dramatic intensity as the deceived bride-to-be Cuniza, and it's only Francesca Sassu's Leonora that shows any real weakness in the line-up. The merciless acoustics of the small theatre and the opera's musical arrangements will quickly reveal any weaknesses, and in this context Sassu sounds unable to bring any depth or drama to the lower end in her opening cavatina, but also fails to hold her own in her Act I duet with Parodi.
When fully supported however, as the opera gathers pace with Verdi works up the musical drama and lightning effects are thrown in for good measure, the qualities of the work and the production become clear. The trio at the revelation of Riccardo's betrayal - resounding with Oberto, Leonora and Cuniza cries of 'traditor!' - is the highlight of Act I, Verdi following it up impressively with a powerful finale, while Act II's quartet has much the same impact, achieving the full Verdi effect. The chorus have an important part to play in this, and do so marvellously, but the main part of the success of this production rests on the driven performance of the orchestra as conducted by Antonello Allemandi that is nicely attuned to the rhythms and dynamic of the work. The sound quality on the Blu-ray disc is simply outstanding. Every instrument is crystal clear, highlighting just how good an account of the work this is.
Released on Blu-ray by C-Major, the image quality every bit as good as the HD sound mixes, Oberto is the first of a series of performances recorded at the Teatro Regio di Parma that will form part of a complete Verdi collection, 'Tutto Verdi', released to coincide with the composer's bicentenary in 2013. Some trailers for other works in the collection are included on the disc, as well as a visual introduction/synopsis for Oberto. The Blu-ray is all-region, with subtitles in Italian, English, German, French, Spanish, Chinese, Korean and Japanese.
