Great I Lombardi Alla Prima Crociata
Since Mr Gleeson wrote such an elaborate appreciation of this DVD, and I thoroughly agree with it, so I try to be brief.
This video has been prepared along with 25 more, the complete operatic ouvre of Verdi, to celebrate his 200th year of birth, this year Oct 11th. All these DVD's are by Italians, on Italian stage s with mostly Italian singers, conductors, stage directors. According to critics: "this is how Verdi should be played" and so far of what I've heard and seen I fully agree. The provincial opera house of the city of Parma was chosen simply because Verdi was born in Le Rancole, a little village in the province of Parma in Lombardy. Verdi was a peasant boy, from the lowest of origins, but an immense talent and became the main dominant figure of Italian opera in the latter half of the 19th century. In fact not only Italian opera, but I daresay all opera, except Richard Wagner, but that's another story.
Now.... I Lombardi. We mustn't forget that it was a young Verdi's fourth opera for La Scala, but over the years it was overshadowed by Nabucco and very much underappreciated. Not that it wasn't a great success in its time, actually it even outdid Nabucco. Verdi's inexpererience with librettists is obvious. The libretto is overlong,awkward and confusing and trying to cover a lot of ground. But the music ! If anybody has any doubts, I recommend to turn off the picture and just listen to the score and I guarantee that all doubts will vanish (provided the listener not being tone-deaf or lacking music al sensitivity.)
Calling it a choral opera is ridiculous. Although it has some of the most beautiful, inspired choruses Verdi ever wrote (eg. Gerusalemme, Gerusalemme!) but it also full of great arias, duets and ensembles, especially the latter where Verdi's lion teeth is beginning to emerge. Just listen to the Trio at the end of the 3rd act that is absolute heaven and it gives me the shivers no matter how many times I've heard it.
As for the performance: Daniele Callegari, the conductor proudly steps into the shoes of the late Lamberto Gardelli who first revived the work in the 1970's. An energetic, totally under control leadership. Singers have already been written about by my colleague, all excellent. To all lovers of opera and great music I can only advise: "buy it without hesitation!"
Since Mr Gleeson wrote such an elaborate appreciation of this DVD, and I thoroughly agree with it, so I try to be brief.
ReplyDeleteThis video has been prepared along with 25 more, the complete operatic ouvre of Verdi, to celebrate his 200th year of birth, this year Oct 11th. All these DVD's are by Italians, on Italian stages with mostly Italian singers, conductors, stage directors. According to critics: "this is how Verdi should be played" and so far of what I've heard and seen I fully agree. The provincial opera house of the city of Parma was chosen simply because Verdi was born in Le Rancole, a little village in the province of Parma in Lombardy. Verdi was a peasant boy, from the lowest of origins, but an immense talent and became the main dominant figure of Italian opera in the latter half of the 19th century. In fact not only Italian opera, but I daresay all opera, except Richard Wagner, but that's another story.
Now.... I Lombardi. We mustn't forget that it was a young Verdi's fourth opera for La Scala, but over the years it was overshadowed by Nabucco and very much underappreciated. Not that it wasn't a great success in its time, actually it even outdid Nabucco. Verdi's inexpererience with librettists is obvious. The libretto is overlong,awkward and confusing and trying to cover a lot of ground. But the music! If anybody has any doubts, I recommend to turn off the picture and just listen to the score and I guarantee that all doubts will vanish (provided the listener not being tone-deaf or lacking musical sensitivity.)
Calling it a choral opera is ridiculous. Although it has some of the most beautiful, inspired choruses Verdi ever wrote (eg. Gerusalemme, Gerusalemme!) but it also full of great arias, duets and ensembles, especially the latter where Verdi's lion teeth is beginning to emerge. Just listen to the Trio at the end of the 3rd act that is absolute heaven and it gives me the shivers no matter how many times I've heard it.
As for the performance: Daniele Callegari, the conductor proudly steps into the shoes of the late Lamberto Gardelli who first revived the work in the 1970's. An energetic, totally under control leadership. Singers have already been written about by my colleague, all excellent. To all lovers of opera and great music I can only advise: "buy it without hesitation!"
In his excellent book, "Verdi With A Vengeance", William Berger noted this about I Lombardi: "Judging by the score alone, much of the work appears primitive to the point of absurdity, but in an emotionaly committed performance, I Lombardi can come alive". And that, gentle reader, is exactly what happened in January of 2009, when this performance took place. Not all at once, mind, but once Maestro Callegari started the Music, it was clear that one thing this performance would be was energetic.
ReplyDeleteThe first scene was a bit uneven, due in large part to the use of a computer or camera to project the scenery on the back wall of the stage. When singers came between the projector and the backdrop in closeup, one could see the projection on the singer's face and costume. And then there was Michele Pertusi's makeup and beard; I flashed back to Charles Middleton as Ming the Merciless. It was pure amateurism, but only mildly distractiong. And only in the first scene with respect to the beard; the projected scenery continued on and off through the balance of the opera.
But, man! did Pertusi sing!! and act! His was a deep, rich, fully realized interpretation of Pagano, who kills his father by mistake while trying to do in his brother, then becomes a hermit in the Holy Land by way of atonement, and THEN leads the cusaders to capture Jerusalem. All in a day's work back then, I guess. Bravo!
Dimitra Theodossiu fully realized the character of Giselda, although with a bit of start up roughness and an occasional touch of vocal roughness just below the "break" (passagio). There were a lot of absolutely stunning pianissimi, as well and full dramatic commitment. Brava!
I Lombardi has two, (count 'em ...2!) tenor parts, and both were first rate. As Oronte, Francesco Meli was as good as it gets. From bottom to top, he was the real deal, and his acting was totally in keeping with the rest of the cast. As Arvino, Pagano's brother as well as Giselda's father, Roberto DiBiasio was excellent. His part has no aria, but he was vocally secure and dramatically fully committed.
There are a couple of cautionary notes: first, this is early Verdi (his fourth opera) so the viewer should not expect Aida, although there are tons of beautiful music, much of it the high energy kind. Second, this is regional Italian opera, specifically, the Teatro Regio di Parma. One will not find the elaborate sets and costumes one experiences from the Met or Covent Garden, nor will one find the beauty pagent good looks often experienced in the divas who sing there. What the viewer does get (in spades!!) is the totally committed and loving performances of Italian opera by people who know and love it, and that from the pit and the chorus, as well as the soloists, and very limited interference from unqualified stage directors who ought to leave opera to those who know it and care about it.
DVD quality is superb both as to the picture and the DTS sound quality. There are subtitles (E, G, Fr, It, Sp, Ch, K, J) and a 10 minute "making of" extra. Opera time is 144 minutes.
Gentle reader, this is first rate work on early Verdi, and one can only hope that the rest of the "Tutto Verdi" series maintains the performance quality.
ReplyDelete