VERDI Un giorno di regno
View record and artist detailsRecord and Artist Details
Composer or Director: Giuseppe Verdi
Genre:
Vocal
Label: Tactus
Magazine Review Date: 04/2015
Media Format: CD or Download
Media Runtime: 108
Mastering:
DDD
Catalogue Number: TC812290
Tracks:
Composition | Artist Credit |
---|---|
(Un) giorno di regno, '(A) king for a day' |
Giuseppe Verdi, Composer
Alice Quintavalla, Marchesa del Poggio, Soprano Angela Nisi, Giulietta, Soprano Belcanto Chorus Dario Ciotoli, Signor La Rocca, Baritone Diego Procoli, Fortepiano Gabriele Bonolis, Conductor Giuseppe Verdi, Composer Marco Frusoni, Edoardo, Tenor Marco Miglietta, Delmonte, Tenor Mikheil Kiria, Cavalier Belfiore, Baritone Riccardo Certi, Servant, Baritone Roberto Jachini Virgili, Ivrea, Tenor Rome Sinfonietta Simone Alberti, Baron di Kelbar, Baritone |
Author: Richard Lawrence
The opera is by no means a total failure but its cause will not be advanced by this indifferent recording. The original title of the libretto was the more informative Il finto Stanislao – ‘The false Stanislaus’. Belfiore is posing as King Stanislaus for political reasons. As the guest of the Baron for marriage celebrations, he engineers the wedding of the Baron’s daughter Giulietta to Edoardo rather than to the latter’s uncle, and prevents the Baron’s widowed niece – with whom he is in love – from marrying the Count. As was still – just – the opera buffa convention, the set pieces are separated by secco recitative: indeed, Verdi’s debt to Rossini and Donizetti is apparent throughout. The duet for Edoardo and Belfiore could be from L’elisir d’amore, while the scenes for the buffo basses, the Baron and the treasurer La Rocca, hark back to La Cenerentola.
This performance is spirited but recorded in a dull, constricted acoustic. The buffo duets go well and Alice Quintavalla is a lively widow. But, voice for voice, Gardelli wins every time. Quintavalla is outclassed by Cossotto, Alberti can’t match Wixell’s stylish phrasing and Frusoni sounds strained compared to the honeyed tones of the young Carreras. The new critical edition is credited: the general absence of second stanzas in the cabalettas did provoke a raised eyebrow. Some stage noise; lukewarm applause. Stick to Gardelli.
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