CD1
01. Act I: Sinfonia - Daniela Barcellona & Enea Scala & Maurizio Muraro
02. Act I: Introduzione-Fanny 'Immagine gradita...' - Kathryn Rudge
03. Act I: Introduzione-Fanny 'Vien gente, ah mi dispiace...' - Kathryn Rudge
04. Act I: Dialogue-'Andate pure, o miei cari...' (Madam Rivers) - Leah-Marian Jones
05. Act I: Aria di Struley 'Geronio ancor non viene...' - Rodion Pogossov
06. Act I: Dialogue-'Ebbene, hai tu...' (Struley) - Rodion Pogossov
07. Act I: 'Bonifacio Voccafrola?' - Maurizio Muraro
08. Act I: Cavatina di Bonifacio Dialogue-'Mo che torna...' (Bonifacio) - Daniela Barcellona & Enea Scala & Maurizio Muraro
09. Act I: Duetto Salvini e Bonifacio 'Speranza seduttrice' - Maurizio Muraro
10. Act I: Dialogue-'Dico io...' (Bonifacio) - Maurizio Muraro
11. Act I: Romanza Nelly 'Dopo l'oscuro nembo...' - Daniela Barcellona
12. Act I: Dialogue-'Ma non è quegli Salvini...' - Daniela Barcellona
13. Act I: Finale dell'Atto primo 'Ah! L'oppresse il dolor...' - Daniela Barcellona & Enea Scala & Maurizio Muraro
14. Act I: Finale dell'Atto primo 'E quest'alma...' - Daniela Barcellona & Enea Scala & Maurizio Muraro
15. Act I: Finale dell'Atto primo 'Addò site?' - Daniela Barcellona & Enea Scala & Maurizio Muraro
16. Act I: Finale dell'Atto primo 'Noi qui l'attenderemo...' - Daniela Barcellona & Maurizio Muraro & Simone Alberghini
17. Act I: Adelson 'Obliarti? Abbandonarti?' - Simone Alberghini
18. Act I: Adelson 'Ah, mio caro!' - Simone Alberghini
19. Act I: Adelson 'Die piacer la voce...' - Simone Alberghini
20. Act II: Duetto Struley e Geronio 'Eh, Geronio!' - Rodion Pogossov & David Soar
21. Act II: Dialogue-'E dunque ritornato...' - David Soar & Rodion Pogossov

CD2
01. Act II: Dialogue-'Vieni, uomo snaturato!' - Simone Alberghini
02. Act II: Duetto Salvini e Adelson 'Torna, o caro...' - Simone Alberghini
03. Act II: Dialogue-'Resta Salvini...' - Simone Alberghini
04. Act II: Aria di Bonifacio 'Taci, attendi, e bedarraje?!' - Maurizio Muraro
05. Act II: Dialogue-'Venite o mie care...' - Simone Alberghini
06. Act II: Finale dell'Atto secondo 'Ecco al n quel caro oggetto...' - Daniela Barcellona & Enea Scala & Maurizio Muraro
07. Act II: Finale dell'Atto secondo 'Al foco...' - Daniela Barcellona & Enea Scala & Maurizio Muraro
08. Act II: Finale dell'Atto secondo 'E il Ciel, che in questa guisa...' - Daniela Barcellona & Enea Scala & Maurizio Muraro
09. Act III: Dialogue-'Che a me si conduca...' - Simone Alberghini
10. Act III: Duetto Adelson e Bonifacio 'Baldanzoso che dici?' - Maurizio Muraro & Simone Alberghini
11. Act III: Dialogue-'Oh con quai rozzi...' - Simone Alberghini
12. Act III: Aria di Salvini con Cori 'Ebben perché respira...' - Enea Scala
13. Act III: Aria di Salvini con Cori 'Si cadro... ma estinto ancora' - Enea Scala
14. Act III: Dialogue-'E già tempo' - Simone Alberghini
15. Act III: Ultimo Coro 'Ah Nelly. Tributo umìle...' - Daniela Barcellona & Enea Scala & Simone Alberghini
16. Appendix: Romanza Nelly 'Dopo l'oscuro nembo' - Daniela Barcellona
17. Appendix: Duetto di Salvini e Bonifacio 'Speranza seduttrice' - Enea Scala & Maurizio Muraro
18. Appendix: Finale primo 'Ah!... L'oppresse il dolor...' - Daniela Barcellona & Enea Scala
19. Appendix: Aria con Cori di Struley 'Ehi! Geronio!...' - Rodion Pogossov

Daniela Barcellona (Nelly),
Simone Alberghini (Lord Adelson),
Enea Scala (Salvini),
Maurizio Muraro (Bonifacio),
Rodion Pogossov (Colonel Struley),
David Soar (Geronio),
Kathryn Rudge (Fanny),
Leah-Marian Jones (Madama Rivers),
Opera Rara Chorus (chorus director: Eamonn Dougan)
BBC Symphony Orchestra
Daniele Rustioni  (conductor)

rec. May 2016, BBC Maida Vale Studios, London

Following the success of Leoncavallo’s opera Zazà, its first venture into the verismo tradition, Opera Rara returns to Vincenzo Bellini for his first full scale opera Adelson e Salvini the label’s third opera recording by the Italian composer.

From his student days in Naples, Bellini revered Rossini, then at the height of his powers and a celebrated figure in opera. When Bellini saw Semiramide performed at the Teatro San Carlo it made a considerable impression on the young teenager. It therefore comes as no surprise that for his graduation piece Bellini’s opera semiseria in three acts Adelson e Salvini was strongly influenced by Rossini. For his first opera Bellini chose a libretto by Andrea Leone Tottola who had prepared librettos for Donizetti and Rossini. Set in seventeenth century Ireland at Lord Adelson’s castle, Tottola’s libretto is based on a novella Adelson et Salvini: Anecdote anglaise from a collection by François-Thomas-Marie de Baculard d’Arnaud. The first performances of Adelson e Salvini were given by an all-male cast of fellow students at the Real Collegio di Musica di San Sebastian, Naples in 1825. It was a hit and extra performances were arranged at the Collegio leading to an opera commission from Teatro San Carlo.

With thoughts of reviving Adelson e Salvini Bellini undertook various revisions and additions to the score that he had left unfinished. For an intended performance at the Teatro del Fondo, Naples which never took place, Bellini authorised his friend Francesco Florimo to make amendments leading to a two act version of the score. In 1985 a version of the opera was staged at the Teatro Massimo Bellini in Catania which was the opera’s first professional performance. In 2001 when the original orchestral parts were unearthed in Milan this meant the full score could finally be reconstructed and heard as the composer intended at its first performance. For this release conductor Daniele Rustioni has recorded a reconstructed original three-act version of Adelson e Salvini, based on a new critical version edition published by Ricordi. After the opera’s conclusion three significant set-pieces taken from the second version are also included: Nelly’s romance, a duet between Salvini and Bonifacio, and Struley’s aria with chorus. Rustioni explains that the score, with its spoken dialogue is rather like an “Italian singspiel” and the Neapolitan dialect used by the amusing character Bonifacio has been retained. Unless one is following the opera with the libretto in hand, hearing the considerable Italian dialogue intrudes, really, diminishing the enjoyment.

Throughout the recording there is a real sense of engagement from all the performers who have clearly bought into this latest Opera Rara project. At times the atmosphere generated at BBC Maida Vale Studios feels very intense, communicating a palpable sense of a live performance. Daniela Barcellona, the best-known soloist here, is in impressive form in the role of Nelly. Raising the temperature the dignified Italian mezzo-soprano communicates penetratingly rich and commanding expression, with her vocal fluidity notable in the affecting romanza ‘Dopo l’oscura nembo’, which is certainly the finest aria in the work. Barcellona has a stunning voice but sadly this role provides only limited opportunity to hear her. Thoroughly recommendable is Barcellona in the trouser role of Malcolm in Paul Curran’s 2015 New York Met production of Rossini’s dramatic two act opera La Donna del Lago (The Lady of the Lake) filmed live on Erato Blu-ray (review). Completely at home here as Lord Adelson, is the experienced Italian baritone Simone Alberghini. Mature-sounding with ideal weight, his voice is characterful yet graceful in ‘Obliarti! Abbandonarti!… Ah, mio caro!’ which is, in truth, a rather routine aria. Italian tenor Enea Scala throws himself passionately into the role of lovelorn Salvini, the Neapolitan painter. Clear, lithe and strongly projected in ‘Si cadro… ma estinto ancora’, Scala excels in meeting the significant demands of the wide tenor range. The highest notes feel a touch pinched but there’s nothing to worry about too much. Salvini’s act one duet with Bonifacio ‘Speranza seduttrice’ is worthy of admiration too.

Salvini’s servant Bonifacio is taken by Maurizio Muraro, the Italian bass. Although the buffo aria ‘Taci, attendi, e allor vedrai’ is a touch wearying Muraro does all he can, singing with proficiency, focus and satisfying expression. Colonel Struley is sung by Russian baritone Rodion Pogossov. The nobleman’s aria ‘Geronio ancor non viene… Tu provo un palpito per tal dimora’ is agreeably delivered by Pogossov with lovely warmth, blend and balance. In the role of Fanny, Kathryn Rudge, an English mezzo-soprano sings her aria ‘Immagine gradita’ (from early in act one) with proficient control, displaying her dark-tinged timbre. In the minor roles bass David Soar, sonorous and expressive, sings Geronio most effectively and mezzo-soprano Leah-Marian Jones as housekeeper Madama Rivers does all that is asked of her. With clarity and impressive unity the Opera Rara Chorus sings characterfully, without undue heaviness. Playing with commitment, the BBC Symphony Orchestra responds splendidly to Daniele Rustioni’s direction, which is assured and high on vitality. Recorded at BBC Maida Vale Studios in London the sound team excel providing first class sound, being especially clear and with satisfying balance. Complete Italian text with an English translation is contained in the lavishly produced booklet together with a pair of helpful essays and detailed synopsis.

With this recording Opera Rara continues its mission to promote excellent recordings of forgotten operas, mainly bel canto repertoire of the ninetieth century. Daniele Rustioni’s well prepared cast excels and the advantage of having native Italian speakers in the principal roles is very evident. Maybe Opera Rara could turn its attention away briefly from its core Italian repertoire to the forgotten French operas of Fromental Halévy, perhaps his La Reine de Chypre, La magicienne or Charles VI? ---Michael Cookson, musicweb-international.com

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CD1
01 Preludio
02 Tu, signor! lasciar se presto
03 O divina Agnese!
04 Silenzio e notte intorno
05 Respiro io qui
06 Ma la sola, ahimo! son io
07 Ah! la pena in lor piombe
08 Vedi_ ... La tua presenza
09 S'io gli ascoltassi, o barbaro
10 Lo vedeste
11 Il mio dolore e l'ira
12 A ciascun fidar vorrei
13 Al castigo a lor dovuto

CD2
01 Introduzione ... Lassa! e pui
02 O troppo a mie preghiere
03 Di grave accusa il peso
04 Eccolo...Oh! come
05 Al tuo fallo ammenda festi
06 Filippo! Tu! ... ti appressa
07 Rimorso in lei
08 Prega! Ah! no, non sia la miser
09 Nulla io dissi ... Di sovrumana
10 Ah! se un'urna e a me concessa
11 Ah! la morte a cui m'appresso

Joan Sutherland (Beatrice)
Mario Zanasi (Filippo)
Renat Cioni (Orombello)
Margareta Elkins (Agnese)
Luigi Paolillo (Anichino)

Orchestra e Coro del Teatro di San Carlo
Nicola Rescigno  - conductor

Naples May 4, 1962

Today's audiences often find it difficult to comprehend what makes Vincenzo Bellini's operas remarkable. Works like Beatrice di Tenda were not rediscovered and staged until the second half of the 20th century. Bellini's credo was, "I want to move to tears..." This sympathetic treatment of the text led his contemporaries to describe Bellini's music as 'filosofica'. Even Richard Wagner acknowledged this when he said, "Bellini's music comes from the heart and closely follows the text". The premiere of the opera was given at the Teatro la Fenice in Venice on 16 March 1873 and was an abysmal failure. Shouts of "Norma! Norma!" were heard from the gallery, which was a clear indication that the audience missed the belcanto style in Beatrice di Tenda. In his new opera Bellini did not continue, as he did in Norma, with the virtuosity and coloratura artistry of the voices but explored a new way of musical expression, which brought to the fore a new warmth and different characteristics. Although Beatrice di Tenda is not one of Bellini's most successful operas, the title role is a popular showpiece among sopranos. --- naxos.com

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Act I
01. Ten fuggi orrida notte!-Questa è mia reggia! [Live] - Zong Shi
02. A tanto duol [Live] - Maxim Mironov
03. Uggero sol, non altri meco resti-Al seno-Viscardo, or ora al porto [Live] - Maxim Mironov
04. Estinto! ...Che ascoltai! [Live] - Vittorio Prato
05. È quegli il mio signor [Live] - Marina Viotti
06. Trio. Di Gernando son le cifre [Live] - Vittorio Prato
07. All'annunzio feral [Live] - Marina Viotti
08. Viva Bianca! Viva ognora-Viva! [Live] - Poznań Camerata Bach Choir
09. Miei fidi amici [Live] - Silvia Dalla Benetta
10. Per lui che in sen racchiude [Live] - Silvia Dalla Benetta
11. Mira, Bianca [Live] - Vittorio Prato
12. Lieto apparve questo giorno [Live] - Silvia Dalla Benetta

Act II
01. Che vuoi tu dirmi?-Viscardo a te parlò? [Live] - Maxim Mironov
02. Allor, che notte avanza [Live] - Vittorio Prato
03. Ove son? Che m'avvenne? [Live] - Silvia Dalla Benetta
04. Sorgi, o padre [Live] - Silvia Dalla Benetta
05. Da te chiamato, or dianzi-T'inoltra [Live] - Mar Campo
06. No! Mia suora, più non sei [Live] - Maxim Mironov
07. Mi lasciate! ...Ah crudeli! [Live] - Luca Dall'Amico
08. Da gelido sudore [Live] - Luca Dall'Amico
09. Ecco la tomba che rinserra il padre! [Live] - Maxim Mironov
10. Fra tante pene e tante [Live] - Maxim Mironov
11. Quai colpi!-Discendi-Mora l'usurpator! [Live] - Maxim Mironov
12. Or che stringo al seno i figli [Live] - Luca Dall'Amico

Bianca - Silvia Dalla Benetta,
Gernando - Maxim Mironov,
Carlo - Luca Dall’Amico,
Filippo Vittorio Prato,
Clemente - Zong Shi,
Viscardo - Marina Viotti,
Uggero - Gheorghe Vlad,
Eloisa - Mar Campo.

Camerata Bach Choir, Poznań, 
Virtuosi Brunensis (Karel Mitáš, Artistic Director),
Antonino Fogliani, Conductor.

Recorded in concert at the Trinkhalle, Bad Wildbad, Germany, 15th and 23th July 2016
 for the XXVIII ROSSINI IN WILDBAD Festival. World premiere.

Such was the success of Adelson e Salvini composed for his fellow students in Naples, the young Bellini was asked to write a work for the great San Carlo theatre. He was just twenty-four at the time, and responded to such an opportunity with a highly charged and dramatic two act opera, Bianca e Fernando. The booklet, that comes with this new release, then rather confuses me, as I have always understood that its original name was only temporarily changed to Bianca e Gernando out of respect for the recent death of King Ferdinand. So what we have here is, I believe, Bellini’s original score of that 1826 opera, Bianca e Fernando, based on Carlo Roti’s drama Bianca e Fernando alla tomba di Carlo IV, Duca di Agrigento. It is a basic opera plot used in so many different guises where the ageing ruler was deposed by a usurper while his son is abroad, the pretender intending to marry the daughter of the former ruler to make his rule complete. Here it comes to a happy ending with the return of his disguised son with his many soldiers, thus saving both his incarcerated father and his sister. In this performance, the son, Fernando, is given the name Gernando. There was also a later revision premiered in 1828, but in this release of a concert performance at the 2016 ‘Rossini in Wildbad Festival’, we do return to the actual score used in 1826. Truth to tell, the opera’s neglect has probably done Bellini a favour, for it is couched in the operatic conventions of the previous era, and does not fit into his place as the begetter of the Italian Romantic era in opera. As is usual with this annual festival, the cast is largely a mix of Italian and East European singers, the imposing tenor, Maxim Mironov, taking the highly taxing role of Gernando, singing a massive and challenging aria not long after the opera begins. I am also taken by the baritone, Vittorio Prato, who sounds too pleasing for the nasty usurper, Filippo, and he too has a long aria when his voiced has hardly warmed. In the role of Bianca, the young coloratura, Silvia Dalla Benetta, does not make her first entry until the finale to the first act, and then she does not have a particularly rewarding aria. Heard to much better effect in the second act where she realises Gernando has come to save her from marrying Filippo. In the role of Clemente, the aid to Gernando, Zong Shi is a lightweight bass, while the other bass, Luca Dall’Amico, in the cameo role of the father, has problems with intonation in his recitative and brief aria. The chorus sing with suitable vigour, though I have heard the Virtuosi Brunensis in better form for the conductor, Antonino Fogliani. Pity they didn’t ask the audience not to applaud during acts, but let us be very grateful to Southwest German Radio for this recording of a rarity—whatever its name. --- David Denton, naxos.com

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Disc: 1
1. Act 1. Introduzione e Coro. Voga, voga
2. Act 1. Recitativo e Duetto. Trista, pensosa
3. Act 1. Recitativo e Duetto. Io la vidi
4. Act 1. Recitativo. Osburgo?
5. Act 1. Scena e Duetto. Alaide
6. Act 1. Coro di cacciatori. Campo ai veltri
7. Act 1. Coro di cacciatori. Ti trovo alfin
8. Act 1. Coro di cacciatori. Che mai penso?
9. Act 1. Terzetto. Ah! non partir
10. Act 1. Terzetto. Leopoldo!

Disc: 2
1. Act 2. Scena ed Aria. Udimmo. Il tuo racconto
2. Act 2. Scena. Tu che osasti mentir
3. Act 2. Scena. A tempo io giungo...
4. Act 2. Scena e Quartetto. Valdeburgo!
5. Act 2. Scena, Coro ed Aria Finale. Sono all'ara...

Montolino - Roland Wood (Baritone), 
Valdeburgo - Mark Stone (Baritone), 
Arturo - Dario Schmunck (Tenor),
Alaide - Patrizia Ciofi (Soprano), 
Isoletta - Enkelejda Shkosa (Mezzo-soprano),
Osburgo – Aled Hall (Tenor)
Prior - Graeme Broadbent (Baritone).

Geoffrey Mitchell Choir,  
London Philharmonic Orchestra
David Parry – conductor

La straniera has never achieved the popularity of other Bellini operas, but is that a result of lack of familiarity, or perhaps the fact that the composer is striving for a concision that he later abandoned? Straniera follows Pirata in the canon, and shows a desire to advance the opera constantly by rarely stopping for a full-blown aria, with many ariosos interjected in the recitative. This did not prevent contemporary audiences from reacting enthusiastically. Bellini even goes so far as to deprive the tenor of an aria, perhaps because Rubini was unavailable. The baritone’s aria is perfunctory, but then two full, slow cabaletta verses follow. But it is especially in ensembles that the characters react, and that they must—because the story is extremely complicated, derived from a French gothic novel. After the premiere, the composer revised his score when Rubini did become available, mostly with adaptations of the tenor’s vocal line when singing alone (which seem to be the choice for this recording), but also revisions in the duets with baritone (as described by Philip Gossett in Divas and Scholars) that are not followed in the recording. Benjamin Walton is the author of Opera Rara’s accompanying essay, as authoritative as Jeremy Commons. A performance list by Thomas Kaufman is also fascinating reading, as we encounter singers who moved from seconda donna to prima donna as their fame grew.

In the title role, Patrizia Ciofi is her customary expressive self, though we might ideally want a voice of greater weight. But the soprano knows her limitations and never pushes the voice beyond its capacities, which does not mean that she is bland. In role after role, she has shown us an amazing capacity to absorb styles and provide characterizations to match: Mozart’s Susanna, the heroines of Hoffmann, Lucie, Strauss’s Sophie, Puccini’s Lauretta. Dario Schmunck may not have the requisite elegance, but he does have the thrust that is an essential aspect of his role. Engaged to Isoletta but in love with Alaide (who turns out to be the reinstated Queen Agnes), jealous of Valdeburgo who is in fact the brother of Alaide—does this give a sufficient notion of the plot?—Arturo has much cause to be in a constant state of distress, and the tenor captures this aspect of the role quite well. Isoletta is far less present (a duet in the first act, an aria and quartet in the second, but Enkelejda Shkosa’s full-blooded mezzo seizes every opportunity. Mark Stone’s light baritone does not always meet the requirements of his role, but the promise is there; for high-note fanciers, he delivers a stunning high A♭ Minor at the end of his aria. Graeme Broadbent is not totally imposing as the Prior, but it is Aled Hall whose over-emphatic delivery in an unpleasant voice unfortunately attracts more than its fair share of attention.

David Parry once more demonstrates his versatility, the London Philharmonic Orchestra its virtuosity, so that Bellini’s score is brought to life. A rival recording on Fonit Cetra or Ricordi features the affectations of Lucia Aliberti and the inadequacies of Vincenzo Bello, which are offset by the touching performance of the young Sara Mingardo as Isoletta. Conductor Gianfranco Masini gives us an old-fashioned reading with lots of old-fashioned cuts, while the current recording is complete (in accordance with my Ricordi score). I have not heard the recordings with Renata Scotto or Montserrat Caballé, which could very well offer further defense of the work. --- Joel Kasow, Fanfare

La Straniera is nowadays widely considered to be Bellini's problem piece, but it was hugely popular in its day. The complex narrative is curiously prophetic of Anne Brontë's The Tenant of Wildfell Hall. The hero Arturo, unstable and suspicious, is drawn to the mysterious Alaide, who is a refugee from marital disaster. Arturo interprets her occasionally strange behaviour as evidence of past sexual extravagance and catastrophically assumes his friend Valdeburgo to be her lover when he is, in fact, her brother. Bellini's decision to replace his usual flexible coloratura with something more altogether angular leads, however, to a score that his contemporaries considered radical, but which now feels expressively rigid. Made in tandem with Opera Rara's revival last November, the recording makes a strong case for the work, but can't disguise its occasional longueurs. Patrizia Ciofi is a sensitive Alaide, but can't make up for the fact that the role needs a fuller tone than she possesses. ---Tim Ashley, guardian.co.uk

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CD1:
1. Act 1 - Introduzione		1:35
2. Act 1 - Viva! Viva Amina!	1:06
3. Act 1 - Tutto è Gioia, Tutto è Festa	3:34
4. Act 1 - Viva Amina	3:51
5. Act 1 - Care Compagne, E Voi, Teneri Amici		2:07
6. Act 1 - Come Per Me Sereno Oggi Rinacque Il Dì!	3:10	
7. Act 1 - Sovra Il Sen La Man Mi Posa	4:25
8. Act 1 - Io Più Di Tutti, O Amina, Teco Mi Allegro	1:57	
9. Act 1 - Perdona, O Mia Diletta, Il Breve Indugio	2:39	
10. Act 1 - Prendi: l'anel Ti Dono	4:58
11. Act 1 - Ah! Vorrei Trovar Parola	5:31
12. Act 1 - Domani Appena Aggiorni, Ci Recheremo Al Tiempo	1:58
13. Act 1 - Vi Ravviso, O Luoghi Ameni	5:36
14. Act 1 - Contezza Del Paese Avete Voi, Signor?	2:43
15. Act 1 - A Fosco Cielo, A Notte Bruna	3:04
16. Act 1 - Basta Così	1:43
17. Act1 - Elvino! E Me Tu Lasci?	2:05
18. Act 1 - Son Geloso Del Zefiro Errante Che Ti Scherza		3:15
19. Act 1 - Ah! Costante Nel Tuo, Nel Mio Seno	4:13

CD2:
1. Act 1 - Davver, Non Mi Dispiace D'essermi Qui Fermato	3:40
2. Act 1 - Che Veggio? Saria Forse Il Tremendo Fantasma?	2:20
3. Act 1 - Oh Ciel! Che Tento?	3:25
4. Act 1 - Osservate, L'uscio è Aperto	2:24	
5. Act 1 - E Menzogna	2:01
6. Act 1 - D'un Pensiero E D'un Accento Rea Non Son	4:32	
7. Act 1 - Non Più Nozze	3:03
8. Act 2 - Introduzione	1:20	
9. Act 2 - Qui La Selva è Piu Folta Ed Ombrosa	3:50
10. Act 2 - Larghetto Maestoso		3:15	
11. Act 2 - Reggimi, O Buona Madre	2:37
12. Act 2 - Vedi O Madre, è Afflitto E Mesto	4:03
13. Act 2 - Viva Il Conte!	1:12	
14. Act 2 - Ah! Perché Non Posso Odiarti	4:37
15. Act 2 - Lasciarmi: Aver Compreso Assai dovresti Che Mi Sei Noioso	1:06
16. Act 2 - Lisa è La Sposa...	0:54
17. Act 2 - De' Lieti Auguri A Voi Son Grata	3:15	
18. Act 2 - E Fia Pur Vero, Elvino, Che Alfin Dell'Amor Tuo Degna Mi Credi?	1:58	
19. Act 2 - Signor Conte, Agli Occhi Miei Negar Fede Non Poss'io	4:47
20. Act 2 - Lisa Mendace Anch'Essa	3:59
21. Act 2 - Signor?... Chi Creder Deggio?	2:20
22. Act 2 - Oh Se Una Volta Sola Rivederlo Io Potessi	4:45	
23. Act 2 - Ah! Non Credea Mirarti Si Presto Estinto, O Fiore	5:03
24. Act 2 - Non Più Non Reggo	Cecilia Bartoli	1:53
25. Act 2 - Ah! Non Giunge	Cecilia Bartoli	3:34

Cecilia Bartoli (Amina), 
Juan Diego Florez (Elvino), 
Liliana Nikiteanu (Teresa), 
Ildebrando d'Archangelo (Il Conte Rodolfo), 
Gemma Bertagnoli (Lisa), 
Peter Kalman (Alessio)

Chor des Opernhauses Zürich
La Scintilla
Alessandro de Marchi – conductor

As I wrote in March 2008, “There are many recordings of La sonnambula, but none is perfect.” The situation remains unchanged, though this latest recording has a great many positive aspects. For a start, it is complete, with decorated second verses for the cabalettas, and even the duet for two trumpets before Elvino’s aria. An editorial note tells us that the new critical edition was used, with three transpositions downward (the two duets for Amina and Elvino and Elvino’s aria), which means that listeners following with the standard Ricordi score will hear what they see on the page and not the manuscript’s higher keys, unlike the Dessay recordings which make further transpositions downwards. (For further information, see my Critics’ Corner in May 2008.) This is also the first recording of Sonnambula using a “period” orchestra, though not the first Bellini opera. The orchestra plays at 430 Hz, which means that the music sounds a quartertone lower than what the eye sees on the page. Alessandro de Marchi’s broad experience of the operatic world stands him in good stead, though his occasional frenetic pacing may seem exaggerated. Curiously, one of the most important instruments in this version is the triangle, whose reverberations—reminiscent of Alpine bells?—linger after many of the ensembles.

The new recording puts to rest the notion of a Malibran version of the opera, though it is strange that Adrian Mourby’s notes constantly refer to Malibran and Pasta as mezzo-sopranos. I would suggest that they conform more to Grace Bumbry’s description of herself as “a singer who uses all of her voice” (to which list one might add Shirley Verrett or Jessye Norman). And those extensions up to high D and E♭ are certainly not within the range of most mezzos. Bearing all this in mind, Cecilia Bartoli encompasses all the notes but that E♭, sings “Ah non giunge” with a plainer first verse than written as is now the custom, but lacks the simplicity or courage to let the music speak for itself. The affectations often get in the way of communication, whether the confidential breathiness or the need to literally palpitate while singing the word “palpitar.” In the theater one might react differently, as one is dealing with several elements and not only the musical execution. Juan Diego Flórez matches his other performances in both expressivity and technique, though the tone itself is monochromatic. Ildebrando d’Arcangelo’s Rodolfo is occasionally stentorian, but that may also be a question of microphone placement. Gemma Bertagnolli’s Lisa makes the most of her two little arias, occasionally emulating Bartoli’s breathiness in her first aria. Liliana Nikiteanu’s Teresa, like many another singer of this role, is slightly troubled at the higher reaches but is otherwise sympathetic in her defense of her daughter.

For the first time, here is what the French would call an almost “philologically” correct performance of Sonnambula, but it is more than just that as it is full of life, whatever criticisms one may have of individual elements. It certainly belongs at the top of the list of recorded versions, with a strong recommendation of the Bernstein/Callas recording, however awful the sound, however hard the chorus struggles with the conductor’s tempos, but Callas is clearly the role model for Amina, and she and Bernstein are absolutely demented in the cabalettas. Cesare Valletti’s tenor is more limited than that of Flórez (few high notes), but he achieves greater tonal variety. ---Joel Kasow, arkivmusic.com

This recording of La Sonnambula is notable on a number of fronts. It's the first recording of the opera based on a 2004 critical edition of the score that confirms the leading role was indeed written for a mezzo-soprano, although it has been performed by sopranos for much of its history. (Among the first Aminas were the celebrated mezzos Giuditta Pasta and Maria Malibran.) It's also the first recording using period instruments, in this case Orchestra La Scintilla, based at the Basel Opera and conducted by Alessandro de Marchi in an idiomatic and lively reading. And, as the promotional materials trumpet, it's the first recorded collaboration between superstars Cecilia Bartoli and Juan Diego Flórez. Although less hoopla is made of him, the recording also features a superbly lyrical performance by baritone Ildebrando D'Arcangelo. Flórez has the ideal voice for this repertoire: warmly Latinate, supple, and passionately inflected. It's a revelation to hear a mezzo with Bartoli's range in the role. She handles its upper reaches with solidity, agility, and complete assurance (although several arias in fact transposed down, but with no loss of impact), and the depths to which she descends are astonishing. Her tender and vulnerable Amina is completely convincing. She and Flórez have a nice chemistry, and their interactions are among the highlights of the recording. The performers in the secondary roles, Gemma Bertagnolli, Liliana Nichiteanu, and Peter Kálmán, are all first-rate. The chorus of townspeople, which has an unusually large part in the goings-on, is sung with spirit by the Chorus of the Opernhaus Zürich. The sound is clean and full, but on the loud side, so the volume may require some adjustment. The novelty of this version and the quality of performances make this a recording that should be of strong interest to fans of the bel canto repertoire and would make a fine introduction for listeners new to the opera. ---Stephen Eddins, Rovi

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1. Act I
2. Act II

Giulietta: Anna Netrebko
Romeo: Daniela Barcellona
Tebaldo: Joseph Calleja
Capellio: Dan Dumitrescu
Lorenzo: Chester Patton

Concert Association of the Vienna State Opera
ChorusSalzburg Mozarteum
Orchestra , Conductor Ivor Bolton;
Chorus master Rupert Huber.

Recording of a concert performance in the Großes Festspielhaus, Salzburg (21 August 2001).

I Capuleti e i Montecchi (The Capulets and the Montagues) is an Italian opera (Tragedia lirica) in two acts by Vincenzo Bellini.

The libretto by Felice Romani was a reworking of the story of Romeo and Juliet for an opera by Nicola Vaccai called Giulietta e Romeo. This was based on Italian sources rather than taken directly from Shakespeare. (The tomb scene from Vaccai's opera has sometimes been performed with Bellini's opera.)

Bellini was persuaded to write the opera for the 1830 Carnival season at the Teatro La Fenice in Venice, with only a month and a half available for composition. He succeeded by appropriating a large amount of music previously written for his unsuccessful opera Zaira.

The first performance of I Capuleti e i Montecchi was on 11 March 1830.

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ACT I
01 Sinfonia 	4:13 
02 Aggiorna appena... 	3:30
03 Ode Capellio, generosi amici' 	1:59 
04 Rinvenirlo io sapro 	3:31 
05 L'amo, ah! L'amo, e mi e piu cara 	3:54
06 Vanne, Lorenzo 	1:30
07 Lieto del dolce incarco a cui mi elegge 	5:06
08 La tremenda uitrice spada 	2:53 	
09 Eccomi in lieta veste 	5:40
10 Oh quante volte 
11 Si, fuggire a noi non resta 	8:05 
12 Oditu? 	1:01
13 Vieni, ah! vieni, in me riposa 	3:54 
Lieta notte avventurosa 	2:55
15 Deh! per pieta, t'arresta 	2:37 
16 Tace il fragor 	4:03 	
17 Vieni, io te lo chiedo in nome della giurata fe 	2:54
18 Oh notte raddensa 	3:05
19 Accoriam... Romeo! 	0:54
20 Al furor che si ridesta 	3:12 	

ACT II
21 Ne alcun ritorna! 	4:00 
22 Morte io non temo 	3:44
23 Prendi... gl'istanti volano... 	1:35 
24 Deh! padre mio! 	6:30 	
25 Deserto e il loco 	3:58 
26 Ola, chi sei, che ardisci 	5:50
27 Ella e morta di dolore, o sciagurato 	3:17 	
28 Siam Giunti 	3:22 
29 Ecco la tomba 	5:23 
30 Tu sola, o mia Giulietta 	3:25 
31 O tu mia sola speme 	2:41 
32 Ah! crudel! che mai facesti? 	5:17

Giulietta - Margherita Rinaldi
Romeo - Jaume Aragall
Tebaldo - Luciano Pavarotti
Capellio - Nicola Zaccaria
Lorenzo - Walter Monachesi

The Residentie Orchestra The Hague
Claudio Abbado, 1966

"Captures a trio of superb performers in their prime, in music that ideally suits their talents. Scotto’s Giulietta is rich, impassioned and youthful, Giacomo Aragall as Romeo is lucid, ringing and fluid right through his range, and Luciano Pavarotti, here singing Tebaldo, is simply magnificent. Add Claudio Abbado’s loving attention to orchestral legato and the excellent La Scala Chorus, and you have a rare example of first-class modern-day bel canto." – ROUGH GUIDE TO OPERA

Bellini’s telling of the Romeo and Juliet story, first staged in 1830, is one of his finest early works, and after decades of neglect it has almost returned today to the standard repertoire. Live 1967 recording. ---Editorial Reviews

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1. Act I
2. Act II

Joyce DiDonato (Mezzo Soprano) - Romeo
Nicole Cabell (Soprano) - Giulietta
Saimir Pirgu (Tenor) - Tebaldo
Eric Owens (Baritone) - Capellio
Ao Li (Bass Baritone)
San Francisco Opera Orchestra,  San Francisco Opera Chorus
Riccardo Frizza - conductor

Vincenzo Bellinis bel canto masterpiece I Capuleti e i Montecchi, inspired by the tragic tale of Romeo and Juliet, is what The New York Times calls an opera of definite dramatic appeal. Joyce DiDonato, winner of the Grammy Award and the ECHO Klassik, and Nicole Cabell as the ill-fated lovers Romeo and Giulietta headline a cast of international stars. Directed by Vincent Boussard in his U.S. debut and led by returning conductor and bel canto specialist Riccardo Frizza, this new co-production has sets created by French opera, theater and dance designer Vincent Lemaire. The production also features stunning costumes by renowned fashion designer Christian Lacroix, a frequent collaborator with Mr. Boussard and a prominent fashion icon known for both his couture house as well as his theater, ballet and opera costumes. ---Editorial Reviews, Rovi

There have been several fine audio-only performances of this, Bellini’s Romeo and Juliet story, with casts that include Elina Garanca and Anna Netrebko, Vesselina Kasarova and Eva Mei, Agnes Baltsa and Edita Gruberova, Janet Baker and Beverly Sills, and Jennifer Larmore and Hei-Kyong Hong. However, before the one under consideration here, there was only one video version, from the Martina Franca Festival starring Patrizia Ciofi and Clara Polito. Highly polished singing from Ciofi did not make up for the casting of a soprano Romeo, and the production itself was rather a mess. In other words, the DVD field was wide open for this set, recorded live in San Francisco in October, 2012.

I dare say that were this audio only, it might be a front-runner, so fine is the singing of the two principals and so idiomatic and exciting the conducting. And by default it is the best video, despite the fact that director Vincent Boussard–along with Vincent Lemaire (sets) and no less than Christian Lacroix (costumes)–do everything they can to alienate the audience. You sense instant trouble from the opening curtain: Hanging from the ceiling, and at first mistaken for stage lighting, are dozens of saddles; nowhere to be seen or sensed are horses. Everyone is in identical (more or less) black/gray trousers, coats, and jauntily tied cravats/scarves, circa the mid-19th century, heaven-knows-where, all wearing stove-pipe top hats as well. The playing area is wide but shallow; the walls are lacquered, unadorned red or black, with occasional abstract formations showing up. Romeo enters, similarly dressed (I believe his top hat is even higher than most, and his shirt is whiter); the Capulets walk off stage while he is singing and return a few moments later.

One can tolerate the silliness and abstraction until Scene 2, in Giulietta’s bedroom. Wearing a sort of flouncy evening gown that she grips to her white bodice, it falls off when her grip loosens–I wonder why. But wait–her room is a continuation of the lacquered walls, only now they are a bright, shiny golden color, and so is the reflecting floor, so we can’t tell where walls end and floor begins. But wait–the only prop in the room is a white, porcelain sink, which Giulietta climbs into in order to sing her opening aria. Romeo enters for their duet and the pair sings mostly without approaching one-another, what with Giulietta literally climbing the walls and all.

So, we begin to understand: Giulietta is crazy, imprisoned both in her mind and by her family, and Romeo can’t quite get to her. Not good enough for such ugliness, I must admit. Later, the wedding scene features bleachers (in a picture frame) upon which sit the guests, the (non-singing) women in ugly, over-decorated, multi-colored crinoline dresses, each with a flower in her mouth. Romeo turns out to be one of them–he drops his dress and spits out his flower before beginning to sing.

But just listen to the pair of lovers. Nicole Cabell, acting up a storm and giving meaning to every word, sings ravishingly and sadly as Giulietta, spinning out Bellini’s long lines, with a voice somewhat grander than we normally hear in this music. This does not allow for great feats of added coloratura, but we get the notes as written, with some embellishments, and a gorgeous trill to boot, all delivered in luxurious tone. And of course, all of this while holding her dress up, balancing herself on a sink, or singing to the back wall.

Romeo may be Joyce DiDonato’s greatest role–greatest among many greats–her figure, range, and exclamatory style being ideal for the impetuous youth. She strides onto the set as if she owns it, and indeed she does, pouring out reams of handsome mezzo sound in perfect legato and diction and with thrilling decoration, always at the service of the text and character. You can ignore a certain wiry tremolo on sustained notes about G. Her duets with Cabell touch the heart, in unison, in thirds, in counterpoint. This is some of Bellini’s saddest music–from a catalog of ineffably sad music–and it speaks directly to the emotions. “Weep, shudder, die,” indeed.

Tenor Saimir Pirgu’s Tebaldo is delivered with earnestness, passion, and a few interpolated high notes that at times are in danger of breaking up. That he and Romeo are asked to simulate a duel in Act 2 while walking on a thin beam (or a tightrope–it’s hard to figure out) is a puzzle that remains unsolved. Eric Owens seems at sea in a role as unfulfilling as Capellio, his remarkable bass voice somewhat wasted and his lack of acting clearly another idea of the director’s. On the other hand, Ao Li’s Lorenzo, sympathetically sung, is asked to act up a storm. The chorus moves in blocks, but sings magnificently.

Riccardo Frizza is clearly a fine bel canto conductor. His reading of the overture is frenzied, but this is clearly to get our attention; thereafter, this is pure beauty. He phrases with the singers, and while allowing plenty of rubato and embellishments, he never misrepresents Bellini’s beautiful, long lines. The orchestra plays the music with warmth and accuracy. I guess there’s irresistibility to watching a soprano in a sink, but after one viewing you’ll just have to close your eyes and listen to two spectacular women’s voices, making I Capuleti come alive.--- Robert Levine, ClassicsToday.com, arkivmusic.com

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CD1:
01. Atto 1 - 1 - Voga, Voga, il vento tace (5:46)
02. Atto 1 - 2 - Triste e pensosa (6:18)
03. Atto 1 - 3 - La Straniera! (1:43)
04. Atto 1 - 4 - Oh tu che sai gli spasimi (2:41)
05. Atto 1 - 5 - Osburgo?...Io non divido (1:34)
06. Atto 1 - 6 - E' sgombro il loco (12:33)
07. Atto 1 - 7 - Serba, serba i tuoi segreti (7:11)
08. Atto 1 - Odi...qual suon! (3:28)
09. Atto 1 - 8 - Campi ai veltri (3:50)                       play
10. Atto 1 - 9 - To trovo alfin (2:45)                       
11. Atto 1 - 10 - Eccola! (3:34)                              play
12. Atto 1 - No: non ti sono rivale (7:11)
13. Atto 1 - 11 - Che mai penso? (5:57)
14. Atto 1 - 12 - Ah! Non partir (3:35)
15. Atto 1 - 13 - Leopoldo! (7:09)

CD2:
01. Atto 2 - 1 - Udimmo (8:32)
02. Atto 2 - 4 - Meco tu vieni, o misera (6:13)
03. Atto 2 - 5 - Tu che osasti mentir (1:50)
04. Atto 2 - 6 - A tempo io giungo (11:00)
05. Atto 2 - 7 - Ne' alcun ritorna (9:13)
06. Atto 2 - 9 - E' docle la vergine (2:15)
07. Atto 2 - 10 - Valdeburgo! (1:38)                  
08. Atto 2 - 12 - Che far vuoi tu? (6:09)
09. Atto 2 - 13 - Sono all'ara (1:28)
10. Atto 2 - Ciel pietoso (5:38)                      play
11. Atto 2 - 14 - Vaneggia (4:45)                     play

Lucia Aliberti - Alaide
Vicenzo Bello - Arturo
Roberto Frontali - Valdeburgo
Sara Mingardo - Isoletta
Vincenzo Sagona
Carlo Striuli – Il Priole

Orchestra e Coro del Teatro Comunale G. Verdi di Trieste
Direttore: Gianfranco Masini

Registrazione dal vivo effetuata del mese di dicembre 1990
al Teatro Comunale Giuseppe Verdi di Trieste

La straniera is an opera in two acts by Vincenzo Bellini, from a libretto by Felice Romani, based on L'étrangère (1825) by Charles-Victor Prévot, vicomte d'Arlincourt. It was composed in the autumn of 1828 and premiered in February 1829 in Milan. The opera was first performed at the Teatro alla Scala, Milan on 14 February 1829, with Henriette Méric-Lalande and Domenico Reina in the leading roles. Alessandro Sanquirico designed the stage sets, and it was presented on a triple bill, along with the ballets Boundelmonte and L'avviso ai maritati. It was first presented in Vienna (1831), Paris, (1832), London (June 23, 1832), New York (November 10, 1834), and Lisbon (1835).

Few performances occurred after its presentation in Palermo in 1840.[3] The opera was revived in 1954 in Bellini's hometown of Catania. It was revived again in 1968 at the Teatro Massimo in Palermo, with Renata Scotto in the title role. Scotto performed it again in Venice in 1970 with conductor Ettore Gracis, while in 1969 a concert performance at Carnegie Hall featured Montserrat Caballé under the baton of Anton Guadagno. Recordings exist of all three of these presentations. The opera was performed again in concert in 1993, again at Carnegie Hall, with Renée Fleming. A complete concert performance was given in November 2007 in London, with Patrizia Ciofi (as Alaide), Dario Schmunck (Arturo), and Mark Stone (Valdeburgo) in the principal roles, conducted by David Parry with the London Philharmonic Orchestra; a complete studio recording was made with these forces the same week, scheduled for release in 2008.

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Disc: 1
1. I Puritani: Act One: Scene 1: All'erta! All'erta! L'alba appari - Cazzaniga
2. I Puritani: Act One: Scene 1: O di Cromwell guerrieri - Cazzaniga
3. I Puritani: Act One: Scene 1: Or dove fuggo mai? - Cappuccilli
4. I Puritani: Act One: Scene 1: Ah! per sempre io ti perdei - Cappuccilli
5. I Puritani: Act One: Scene 2: O amato zio, o mio secondo padre! - Sutherland
6. I Puritani: Act One: Scene 2: Sai com' arde in petto mio - Sutherland
7. I Puritani: Act One: Scene 3: Ad Arturo onore - Chorus of Royal Opera House
8. I Puritani: Act One: Scene 3: A te, o cara - Pavarotti
9. I Puritani: Act One: Scene 3: Il rito augusto si compia senza me - Luccardi
10. I Puritani: Act One: Scene 3: Son vergin vezzosa - Sutherland
11. I Puritani: Act One: Scene 3: Ferma! Invan, invan rapir pretendi – Cappuccilli

Disc: 2
1. I Puritani: Act One: Scene 3: Dov'e Arturo? - Sutherland
2. I Puritani: Act One: Scene 3: Ma tu gia mi fuggi? - Sutherland
3. I Puritani: Act Two: Ah dolor! Ah terror! - Chorus of Royal Opera House
4. I Puritani: Act Two: Cinta di fiori - Ghiaurov
5. I Puritani: Act Two: E di morte lo stral non sara lento - Cappuccilli
6. I Puritani: Act Two: O rendetemi la speme - Sutherland
7. I Puritani: Act Two: Vien, diletto, e in ciel la luna! - Sutherland
8. I Puritani: Act Two: Il rival salvar tu dei – Ghiaurov

Disc: 3
1. I Puritani: Act Three: Son salvo, alfin son salvo - Pavarotti
2. I Puritani: Act Three: A una fonte afflitto e solo - Sutherland
3. I Puritani: Act Three: Fini... me lassa! - Sutherland
4. I Puritani: Act Three: Vieni, vieni fra queste braccia - Pavarotti
5. I Puritani: Act Three: Ancor s'ascolta questa suon molesto - Pavarotti
6. I Puritani: Act Three: Credeasi, misera! - Pavarotti
7. I Puritani: Act Three: Suon d'araldi? - Chorus of Royal Opera House

Gian Carlo Luccardi, basse,          Lord Gualtiero Walton
Joan Sutherland,     soprano,        Elvira
Nicolai Ghiaurov,    basse,          Sir Giorgio Walton
Luciano Pavarotti,   tenor,          Lord Arturo Talbot
Piero Cappuccilli,   baryton,        Sir Riccardo Forth
Renato Cazzaniga,    tenor,          Sir Bruno Roberton
Anita Caminada,      mezzo-soprano,  Enrichetta de France

Covent Garden Chorus
London Symphony Orchestra
Richard Bonynge – conductor

This is the best overall rendition of Puritani, why isn't it available? Arguably Bellini's best score (Norma is admittedly more dramatic, but the melodies really soar in this work), this is the only recording to present it complete. As if that wasn't enough, you have a 'Puritani Quartet' that was pretty much unbeatable at the time (mid 70's). One wishes that the Met's cast from the period (substitute Milnes for Capucilli) was used, but that's a quibble. After its initial appearance, this recording was a must have. Where did it go?

Callas' interpretation of Elvira was always considered classic, but her recording is sliced to ribbons. Here this score is not only complete, but Bonynge restores the middle section of the soprano/tenor duet that Bellini removed prior to the Paris premiere (but had already shipped to Milan). Pavarotti sings the F in alt as written, and Sutherland sings the rondo finale with true abandon (She also sings this on her original recording. Sills was the only other soprano to record it, also unavailable.). Besides, Sutherland is magnificent here. The voice is not as fresh as her initial recording (which has been unavailable for ages), but she is more than a match for this music. So she isn't Callas. She's Sutherland, with an amazing technique combined with a achingly beautiful instrument and a real performing intelligence.

Pavarotti became an international sensation with this role (this is when he hit to covers of Time and Newsweek). No one has ever sung this role with more stunning results. The tessitura is brutal, but he makes it sound easy, with just enough effort to make it exciting.

If you find this recording, buy it. Bel Canto rarely sounded better. This is a work that you just float away on. I can't recommend this one enough. --- John R. Jaeger (Rochester, NY)

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