Donizetti Il campanello
View record and artist detailsRecord and Artist Details
Composer or Director: Gaetano Donizetti
Genre:
Opera
Label: Ricordi
Magazine Review Date: 9/1999
Media Format: CD or Download
Media Runtime: 59
Mastering:
DDD
Catalogue Number: RFCD2024
Tracks:
| Composition | Artist Credit |
|---|---|
| (Il) Campanello di notte |
Gaetano Donizetti, Composer
Anna Rita Taliento, Serafina, Soprano Cinzia de Mola, Madame Rosa, Soprano Enzo Dara, Don Anibale Pistacchio, Baritone Fabrizio Maria Carminati, Conductor Gaetano Donizetti, Composer Leo Nucci, Enrico, Baritone Luca Casalin, Spiridione, Tenor Turin Teatro Regio Chorus Turin Teatro Regio Orchestra |
Composer or Director: Gaetano Donizetti
Genre:
Opera
Label: Ricordi
Magazine Review Date: 9/1999
Media Format: CD or Download
Media Runtime: 75
Mastering:
DDD
Catalogue Number: RFCD2026
Tracks:
| Composition | Artist Credit |
|---|---|
| (Le) Convenienze ed Inconvenienze Teatrali |
Gaetano Donizetti, Composer
Alberto Noli, Procolo, Baritone Andrea Concetti, Cesare Salzapariglia, Baritone Angelo Nosotti, (Il) Direttore del Palcoscenico, Bass Bergamo Donizetti Teatro Chorus Bruno de Simone, Mamm' Agata, Bass Bruno Lazzaretti, Guglielmo, Tenor Cristina Rubin, Luigia, Soprano Elisabetta Andreani, Pippetto, Mezzo soprano Enrico Turco, (L') Impresario, Bass Fabrizio Maria Carminati, Conductor Gaetano Donizetti, Composer Maria Costanza Nocentini, Daria, Soprano Mauro Utzeri, Biscroma Strappaviscere, Baritone Orchestra della Regione Lombardia 'I Pomeriggi Musicali' di |
Author:
In the chronological discography at the end of Charles Osborne’s book The Bel Canto Operas (Methuen: 1994) the latest of Donizetti’s operas to be marked with ‘NR’ (‘Not recorded’) is Adelia, which had its premiere in 1841. For the next ‘NR’ we have to go back ten years to the one-acter called La romanziera e l’uomo nero: that’s how few-and-far-between the unknown have now become. Adelia has been generally overlooked on the grounds that it was a commission from Rome which Donizetti fulfilled hurriedly, incorporating material from earlier work and marking time after the progress of his Parisian successes, La fille du regiment and La favorite. Roger Parker’s essay on ‘The rediscovery of Adelia’ for the booklet points out that Donizetti showed his continuing interest in it by constantly making changes and additions. He also argues that, though in many ways rightly regarded as a traditionalist opera for its time, it possesses some innovative features: a point that may matter less to the present-day listener than the assurance that it has a character of its own and that the music is worth hearing.
The character lies much in its speed, that of the unfolding plot and the prevailing musical tempos. The arias are mostly short and urgent, leading readily into the cabalettas. There is plenty for the chorus, and a good, substantial ensemble gives impetus to the finale of Act 1. The story is of that tiresome kind in which everything could have been sorted out if the characters would only have a sensible talk about it. The happy ending is then brought about by one of those impossible changes of heart that tyrannical rulers often experience five minutes before curtain-down. Also, having secured her Mad scene, the heroine regains her wits very promptly, in time to enjoy a brilliant final solo. So: Adelia is no dramatic masterpiece, but is not dead on the stage either.
The performance from Genoa is a lively one, with the richly gifted Mariella Devia at its centre. Her voice appears to have loosened, so that, if not following the libretto for a moment, one may suppose her unsteady tones to be those of the confidant (who in fact is notably firm by comparison). On high, she is still splendid, and her technique in florid work remains impressive. The men include an incisive tenor, sturdy baritone and sonorous but uneven bass. John Neschling conducts with spirit and sympathy.
Neither of the two short comedies has ‘NR’ by it in Charles Osborne’s list, but both of the present recordings can claim a first by virtue of the version and edition. Both are based on revised texts, Il campanello 1837, Le convenienze 1831, and both recordings are taken from live performances under Fabrizio Maria Carminati. Both, I would say, outstay their welcome as the joke wears thin, but the Convenienze has some good opening numbers promising well. The punning title translates as ‘Theatrical conventions and inconveniences’ and falls within the tradition of which Richard Strauss’s Prologue to his Ariadne auf Naxos is the masterpiece. Nothing like that is on offer here, but it goes well in a good performance, such as this one, with Maria Costanza Nocentini deservedly cast as Prima Donna. Il campanello quickly becomes tedious, not helped by Leo Nucci’s palpable efforts to raise a laugh. Memories of the Vienna recording under Gary Bertini, with Baltsa, Angelo Romero and a 14-year younger Dara, are happier (but by no means happy).'
The character lies much in its speed, that of the unfolding plot and the prevailing musical tempos. The arias are mostly short and urgent, leading readily into the cabalettas. There is plenty for the chorus, and a good, substantial ensemble gives impetus to the finale of Act 1. The story is of that tiresome kind in which everything could have been sorted out if the characters would only have a sensible talk about it. The happy ending is then brought about by one of those impossible changes of heart that tyrannical rulers often experience five minutes before curtain-down. Also, having secured her Mad scene, the heroine regains her wits very promptly, in time to enjoy a brilliant final solo. So: Adelia is no dramatic masterpiece, but is not dead on the stage either.
The performance from Genoa is a lively one, with the richly gifted Mariella Devia at its centre. Her voice appears to have loosened, so that, if not following the libretto for a moment, one may suppose her unsteady tones to be those of the confidant (who in fact is notably firm by comparison). On high, she is still splendid, and her technique in florid work remains impressive. The men include an incisive tenor, sturdy baritone and sonorous but uneven bass. John Neschling conducts with spirit and sympathy.
Neither of the two short comedies has ‘NR’ by it in Charles Osborne’s list, but both of the present recordings can claim a first by virtue of the version and edition. Both are based on revised texts, Il campanello 1837, Le convenienze 1831, and both recordings are taken from live performances under Fabrizio Maria Carminati. Both, I would say, outstay their welcome as the joke wears thin, but the Convenienze has some good opening numbers promising well. The punning title translates as ‘Theatrical conventions and inconveniences’ and falls within the tradition of which Richard Strauss’s Prologue to his Ariadne auf Naxos is the masterpiece. Nothing like that is on offer here, but it goes well in a good performance, such as this one, with Maria Costanza Nocentini deservedly cast as Prima Donna. Il campanello quickly becomes tedious, not helped by Leo Nucci’s palpable efforts to raise a laugh. Memories of the Vienna recording under Gary Bertini, with Baltsa, Angelo Romero and a 14-year younger Dara, are happier (but by no means happy).'
Donizetti Il campanello
Donizetti Le Convenienze ed Inconvenienze Teatrali
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