Fiddling with Nero

Arrigo Boito is better known as Verdi’s ibrettist on several well known operas but he did write a couple of his own.  Mefistofele is probably the better known of the two but it feels like the one he put pretty much heart and soul into is Nerone.  Now it’s a matter of some controversy whether he finished the opera or not.  Four acts were completed and the composer is on record, in 1911, as describing the opera as “finished” but there’s a prose summary of a possible fifth act which is generally regarded as so unstageable that the composer couldn’t possibly have made opera out of it.  In any event the version staged at Cagliari in 2024 and recorded for video is the four act version.

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A more mature Siurina

whereismybelovedI first came across Russian soprano Ekaterina Siurina  as Zerlina in the 2008 video recording of Mozart’s Don Giovanni from Salzburg.  She had had plenty of success already in coloratura roles such as Gilda and Adina and was, I thought, the best Zerlina I had come across.  Fast forward to 2015 and she sang a very fine Violetta at the Four Seasons Centre opposite her husband Charles Castronovo.  A few years on and it’s not terribly surprising that she’s starting to venture into slightly heavier lyric-dramatic territory.  This is reflected in her recent album Where is My Beloved? recorded in 2022 with the  Kaunas Symphony Orchestra conducted by Constantin Orbelian. Continue reading

Faccio’s Amleto

Franco Faccio’s 1865 work Amleto disappeared from the opera repertoire after the disastrous opening night of its 1871 revival at La Scala only to be “rediscovered” in recent years and featured at the 2016 Bregenz Festival.  It was Faccio’s second, and last opera, though he enjoyed a career as a conductor, that included eighteen years as Music Director at La Scala before being institutionalized due to the effects of syphilis.  So, one naturally asks, is it any good?  The answer is an emphatic “yes”.  It’s not only good but seems quite advanced for an Italian opera of that date.  It’s closer in spirit to Puccini than bel canto.  Indeed the soliloquy Essere o non essere sounds curiously like E lucevan le stelle.  It’s similar to later Verdi and, indeed, Puccini in that it’s through sung with recitative like passages and set piece arias and ensemble numbers and it’s more conventionally tonal than its contemporary Tristan und Isolde.  Arguably the orchestral writing is more interesting than that for voice (Ophelia’s funeral march is very fine) and certainly the weakest parts are the ensembles.  It’s probably also fair to say that there is no big hummable melody.  Still, Faccio was twenty five when he wrote it and there aren’t many better operas by twenty five year olds.

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The Devil it is

Boito’s Mefistofele is a rather odd work.  It’s truer to the original Goethe than other operatic versions of the Faust legend which means it’s very episodic and focuses on the Faust/Mefistofele relationship rather than on Margherita.  In fact she’s dead with an act and an epilogue still to go.  It’s hard to categorize musically too.  Some parts are rather bombastic, vulgar even, yet at other times we seem to be drifting into bel canto territory.  So it’s a bit uneven; listenable enough but not very memorable.

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