One thing the Donizetti Festival in Bergamo is noted for is unarthing Donizetti rarities. The 2016 edition was Rosmonda d’Inghilterra; a dramatically rather slight piece based on the story of Henry II’s mistress, generally known as “The Fair Rosamund”. In the opera version Rosmonda is locked up in a tower by her lover Edegardo who has promised to marry her except he’s really Henry II (Enrico) and Leonora (Eleanor of Aquitaine) is going to have something to say about that. Complicating matters; Enrico’s page Arturo is in love with Rosmonda and her dad, Clifford, is the king’s principal counsellor and not at all happy about his daughter carrying on with a married man. Clifford’s plan to save the family’s honour is to have Arturo take Rosmonda off to Aquitaine and marry her. Rosmonda’s is to retire to a convent (as, apparently, the historical Rosamund did) . Enrico’s is to divorce Leonora (given Enrico’s problems with the church this seems highly implausible but, hey, bel canto) and make Rosmonda his queen. Leonora isn’t having any of this and shows up at the tower and kills Rosmonda. Finito. Along the way there’s lots of very workmanlike Donizetti music which sounds pretty much like most Donizetti operas.
Once in a while one comes across an opera DVD that’s so “ordinary” that it’s extremely difficult to write about it. The 2002 Cagliari recording of Donizetti’s Don Pasquale is one such. Stefano Vizioli’s production is set in 1750s Rome and plays the piece about as straight as a madcap comedy can be played. The singing is rather good and, if the acting is a bit Brian Rix farce that’s hardly inappropriate. At the heart of the piece is Alessandro Corbelli who must be close to being the ideal Pasquale. He gets good support from Eva Mei as Norina and Antonino Siragusa as Ernesto. Roberto de Candia is also quite good as Malatesta but he’s not Mariusz Kwiecien. The chorus is a lot livelier than the average Italian chorus and the orchestra, from Bologna, might be a bit thin on string tone but isn’t bad at all and Gérard Korsten’s conducting is perfectly OK.
I’ve been involved in a lot of on-line discussions about various productions; live and DVD, of La clemenza di Tito. Oddly perhaps, none of them have ever referenced the 2005 Zürich recording with Jonas Kaufmann in the title role. Today I think I found out why. Basically it’s rather dull, except where it’s unintentionally funny.