Myself and Donizetti, A More Recent Marriage
As an opera lover, I have to say I’ve never been much of a fan of the standard Bel Canto repertoire. I usually like Bellini, for the most part, and really love Rossini’s gift for theatre, but apart from that it is not the first thing I go for when seeking material to which to listen. I think it was no less than George Bernard Shaw who said (and I am sure I am paraphrasing or even misquoting here): “One you have hear Wagner, there is no need to listen to Donizetti ever again.” I love Verdi, Puccini is a God, and am devout to Mozart’s operas with Lorenzo Da Ponte (his “Italian” period), so it’s not like I eschew Italian opera—I just never got into this kind of work. Too many vocal acrobatics for my taste; it seemed like singer’s music and, being a composer, I’ve always sought what I presumed meatier fare. But there a recording of Donizetti’s L’Elisir d’Amore sat, high atop what I call my “guilt stack,” that overwhelming mountain of CDs that come in to which I fully intend to listen, but you know how good intentions can go. So enough, I said, and put it on. And was pretty entranced. Still am.
First, hats off once again to Sony for once again making an attractively packaged and affordably priced way to get to these pieces. As part of their Masterworks Opera, this smart little package of the 1977 recording (Domingo!) is a wonderful alternative to the bulked-out, pricey opera box.
And what a recording. I know it is cliché to rave about Domingo, especially the younger Domingo, but wow, wow, and wow. His opening aria “Quanto e bella!” could arguably be done differently—less raw power, more wistfulness—but it is hard to imagine it being done better. Matched part for part by his cast co-members (Ileana Cotrubas, Sir Geraint Evans, Ingvar Wixell and Lillian Watson) and clipped along by conductor John Pritchard, this is a dynamic, tight recording of what I came to discover is a great and nuanced opera. (As a side note, I wondered what a Brit might have to say about Italian Opera, until I thought of Gilbert and Sullivan and the Music Hall tradition and suddenly realized my line of thinking was pretty stupid.) I love it when I learn to love something toward which I had tepid and overgeneralized feelings—and come to think of it, Donizetti did write Lucia, which I’ve seen often and richly enjoyed, especially the mad scene!
Also, it is always satisfying to prove Shaw wrong. Or maybe to get Shaw wrong. Not sure which I’ve done.
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Hi !!!! ^_^
I am Piter Kokoniz. Just want to tell, that your blog is really cool
And want to ask you: will you continue to post in this blog in future?
Sorry for my bad english:)
Thank you!
Piter Kokoniz, from Latvia