Donizetti

In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire. Thus also Venice’s Teatro La Fenice, in a commendable effort, staged this Pia de’ Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in 1837, was ambiguous, so much so that Donizetti re-worked it as many as three times. The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer. The listener will undoubtedly wonder, once more, at Donizetti’s wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted, here, by Patrizia Ciofi.

After Il Fortunato inganno and La Zingara, the Martina Franca Festival has revived another neglected masterpiece by Donizetti, Pietro il Grande o sia il Falegname di Livonia. First staged in Venice in 1819, this work met with good success and was performed until 1827. The silence that followed is justifiable only on account of the enormous success reaped by works such as Elisir d'amore, Don Pasquale and Lucia di Lammermoor, for in Pietro il Grande there is no lack of inspiration and Donizetti's creativity is, quite the opposite, generous and surprising.

Based on Victor Hugo’s most sensational play, Lucrèce Borgia, a scandalous tale of murder, torture, incest, homosexuality, drunkenness and orgies, Donizetti’s opera is one of the great masterpieces of Italian bel canto repertoire. While omitting some of its more excessive elements, the libretto by Felice Romani inspired Donizetti to compose superb arias, duets, ensembles and choruses, bringing each act to a stirring conclusion.

In July 1835 Donizetti was to have staged the first of the three new operas for which he had signed a contract with the management of the San Carlo theatre; but things, as so often happens in the world of opera, did not work out as the composer had intended. The subject - Walter Scott’s The Bride of Lammermoor - had long since been chosen but the direction had not provided for having the libretto written so that it could be read and approved by the censor by the beginning of March, four months before the scheduled date of the première, as the contract stipulated. At the end of May, at the composer’s urgent bidding, the writing of the libretto was entrusted to Salvatore Cammarano, destined to become one of the composer’s favourite working partners: yet the date of the première, inevitably, had to be postponed…

Gaetano Donizetti (1797-1848) wrote his first opera at the early age of 21, which over the next 25 years was to be followed by another seventy. From 1830 onwards his operas caught the attention of the public and remained on the programmes, which was unusual at that time. When in 1841 the sought-after opera composer was on yet another of his tours, he was approached by the manager of the Vienna Kärntnertortheater, Bartolomeo Morelli, who requested him to set Linda di Chamonix to music after a libretto by Gaetano Rossi. Donizetti, who was keen to establish himself in Vienna, having already done so in Paris and Milan, accepted the commission.

Born in Bergamo, Gaetano Donizetti (1797-1848) wrote string quartets, 18 in all. While this output may be dwarfed by the 65 or so operas he composed, that they exist at all may be a surprise. Mostly written in his youth while he was waiting for his first opera commission, the surest way to fame and fortune for a young composer, they exhibit the promise that he was later to fulfill in the opera house.

The renowned American music magazine Fanfare called the first cpo production featuring Gaetano Donizettis string quartets a compelling demonstration on behalf of some of the most dazzling works of the quartet literature. Now the Pleyel Quartet of Cologne, which during the course of its existence has gained fame above all for its rediscoveries of forgotten masterpieces of the string quartet literature, presents three more quartets by the Bergamo master his early Quartets Nos. 1-3. Performed on original instruments, these quartets offer astonishing examples of Donizettis compositional talent. Since they are obliged to an older ideal, they combine seriousness and delightful sound; both technically and musically, demanding and entertaining elements maintain a balance.

Despite having to mentor a 17-year-old law student through the versifying of the libretto for Maria Stuarda in 1834, when it was finally finished Gaetano Donizetti believed that he and the young man, Giuseppe Bardari, had created a powerful and high-quality opera for the eagerly expectant Naples public. He was quite disappointed then, when the Bourbon King of Naples absolutely refused to allow its performance (the King’s wife was a distant descendant of the Catholic Stewart queen, whom many Italians considered a martyr to her religion). Troubling to the censors was not only the subject of a beheaded Catholic royal, but also the strongly emotional and bitter interchange between the two queens in their act II confrontation at Fotheringhay Castle (an interchange that historically never occurred; the two queens never met in real life)…

FANFARE: Bill White