It has always been something of a puzzle to me that Un giorno di regno still awaits a fully professional production in this country by one or other of our metropolitan or regional companies. Although on the whole Italian buffo works are out of favour with those who run these organizations, I would have thought that the name of Verdi might encourage them to have a go at a piece that is quite as-enjoyable as many of the comedies of Rossini or Donizetti. Then, if they need to be enthused, there has always been this excellent set to be consulted. When it first appeared in 1974, RO graphically stated: ''In Un giorno Verdi can be seen teeing up the opera buffa style and driving lustily over the fairway. It's an unfamiliar and exhilarating sight, and the fact that three years later in Don Pasquale Donizetti drove even further and with a still sweeter swing, doesn't detract a jot from either quality.''
This set was one of the first fruits of Philips's intention, not completely carried out, to record all Verdi's early operas, and it remains one of the most rewarding results of that policy. Erik Smith's true and forward recording sounds even fresher and more attractive on CD, and his hand-picked cast obviously enjoy themselves in a theatre-like performance. Gardelli was the house conductor for the Verdi project, an apt choice as can be once more confirmed by listening to his expert management of the many fizzing ensembles and his innate sense of what a Verdi melodia requires.
Ingvar Wixell fills the major role of Belfiore, the false King Stanislaus of the original libretto, with relish and panache, though not quite enough Italianate brio. The two buffo bass parts are in fact sung by baritones, but Ganzarolh and Sardinero make one forget that they haven't quite the requisite bottom to their voices by dint of their lively characterization. Although the Marchesa is supposedly the soprano role, Giulietta the mezzo Giulietta has the higher lying line and the Marchesa was sung originally by a mezzo, so the casting here is apt enough. As ever, Cossotto provides strong tone and clean attack. The young Jessye Norman sings with just the warmth her part needs. It is also a pleasure to hear the youthful Carreras providing the plaintive voice the romantic lead calls for. Altogether this set is a delight to the ear and should be in every Verdian's library.'