I'M HAVING A BLISSFULLY EXTENDED BAROQUE MOMENT

 

 Time to add a few more titles to my personal survey of favorite opera scores. I’ve already made it up to 1819, with twenty-some gems appraised. But before I continue, a few words about where my head’s been for the last couple of months.

Early in May I made a great discovery on a site called rateyourmusic.com. It was a post called “Baroque Opera” put together by someone called Xenakis. In it the author posted a list of the 159 baroque era operas he’d explored so far, each with brief commentaries describing his reactions. I found Xenakis’s observations both cogent and entertaining. What’s more the piece supplied me with a treasure trove of baroque titles I’d never listened to and in most cases had never even heard of.  My own excavations began immediately both on YouTube and at the Public Library. First explored was “Isbe” (Jean-Joseph de Mondeville) from 1742. I’d never heard of either the opera or its composer but Xenakis rated it very highly. And boy was I glad I listened to that recommendation. It’s a wonderful work, excitingly presented in a 2016 recording conducted by Gyorg Vashegyi. Since then I’ve been happily rediscovering a number of other works that would probably have escaped my attention were it not for Xenakis.

Currently I’m happily embroiled in “Orfeo”(Luigi Rossi-1647). Baroque and early Romantic composers seemed to write operas about the Orpheus legend with the same frequency that celebrities of a few years back used to post ice bucket challenge videos. I’ve heard and enjoyed many of them. But this may be my favorite of all. The libretto (by Francesco Buti) adds a number of new characters to the familiar story, most of them meddling gods and goddesses hauling in their own percolating subplots. But the opera never seems overpopulated. That’s because composer Rossi seems to draw from a bottomless well of musical inspiration. Every character, every plot thread gets to make its own distinctive melodic impact. Rossi has a particular gift for creating sublimely harmonic duets and ensemble numbers. And the addition of new characters to the mix just gives him more opportunities to display that marvelous gift. The recording I’m listening to is from 1991 (Harmonia Mundi label), conducted by the great William Christie. He and his group Les Arts Florissants have been absolutely critical in both preserving baroque opera’s legacy and sparking modern enthusiasm for it. Orchestra and chorus are superb, the soloists all splendid. Seek it out. You won’t be disappointed.

Anyway, back to the present (or at least to 1820). Here’s the next entry in my own chronological survey. 

MARGHERITA D’ANJOU(Meyerbeer-1820)

Jakob Beer (later known professionally as Giacomo Meyerbeer) was born to a wealthy and socially prominent family in Germany in 1891. His musical talents were evident early on; by the age of nine he’d emerged as a widely heralded piano prodigy. But composing was Beer’s real ambition and his first opera (in German) appeared when he was twenty.

Feeling that Italy was at that point opera’s real creative center, the young man moved there in 1813.  Falling in love with the country’s music and culture, he totally immersed himself in the new scene, studying, learning and growing by leaps and bounds. It was at this time that he adopted the Italianate “Giacomo” as his first name and changed his last name to “Meyerbeer” (combining his grand father’s first name “Meyer” with the family name “Beer”). Looking toward the wildly successful Rossini (six months younger than Meyerbeer) for inspiration, the young German began to create Italian operas. “Emma di Resburgo”(1819) received favorable attention. But it was “Margherita d’Anjou” the following year that gave Meyerbeer” his first substantial hit. Many more were to follow. “Margherita” is set in 15^th century Britain. The title character is the widow of English king Henry VI, deposed and killed during the Wars of the Roses. She returns from exile determined to reclaim the throne for her young son. With its full complement of onstage pageantry and rousing choral interludes. the work prefigures the grandly scaled French operas that would bring Meyerbeer to the height of his fame in later years. Oddly, the composer seems reluctant to completely dispense with the recitatives that were quickly falling out of fashion. They’re not pervasive in “Margherita” but occur frequently enough to make their presence felt. Not enough, though, to take the spotlight away from the real glories of Meyerbeer’s score. Each lovely aria is followed by another of equal allure in an imposing display of melodic invention.  Meyerbeer’s sympathetic orchestrations weave a cocoon of comfort and tenderness around his singers, one that can’t help but encourage commitment and inspiration. A 2002 recording from Opera Rara (beautifully conducted by David Parry) fully reveals what a treasure this work is.  

ALESSANDRO NELL’INDIE(Pacini-1824)

Set against the colorful backdrop of Alexander the Great’s attempt to conquer India, this one starts off with a lovely choral prelude. Fortunately the chorus reappears often during the proceedings, at times coming to the rescue when things occasionally threaten to get plodding. “Alessandro”’s a prime example of what was called a clemency opera, wherein an authority figure’s sudden magnanimity solves everyone’s problems just before the curtain falls. A great hit in its day but basically unrevived until Opera Rara’s high quality recording in 2006. 

IL CROCIATO IN EGITTO(Meyerbeer-1824)

A spectacle set during the time of the Crusades. There’s lots of attractive music on hand but a preponderance of recitatives throughout keeps interrupting the general flow. Audiences of the time didn’t seem to mind, though. This was the work that made Meyerbeer’s international reputation. One of the great popular successes of the 1820’s; nowadays it’s hardly ever performed. 

LA DAME BLANCHE(Boieldieu-1825)

This one’s a real curiosity. Though widely accepted as an opera, the thing is liberally peppered with dialogue sequences. Which seem to qualify it as more of an operetta. Yet this is many decades before the operetta as a genre really took hold, What’s more, large swaths of “La Dame Blanche” sound specifically like a Gilbert and Sullivan operetta. And that pair didn’t hit the scene till the 1870’s. But if W.S. Gilbert had written English lyrics to some of the music from Boieldieu’s score and incorporated it into one of the G&S operettas, I suspect audiences would have been perfectly happy with the results. The plot of “La Dame Blanche” is convoluted nonsense involving an amnesiac, a mysterious veiled lady and a spooky castle whose ownership is up for grabs. Things take place but none of it carries much dramatic weight – or even makes much sense. What can’t be denied, though, is the charm of Boieldieu’s music. Edit out the dialogue and this can be enjoyed by any music lover – whatever their language – from happy start to happy finish. 

ELVIDA(Donizetti-1826)

A one acter, jaunty and melodious. The soprano heroine gets some lovely showcase moments. With many splendid choral passages also on offer. 

 CARITEA, REGINA DI SPAGNA(Mercadante-1826)

Mercadante was an avid admirer of Rossini. He also had a marvelous knack for mimicking Rossini’s popular style. Caritea illustrates that point nicely. One could be forgiven for thinking that this was, in fact, a Rossini piece – though – by this time – Rossini himself had decamped from Italy and launched a new and successful career in France.  “Caritea” is fairly long -and I kept waiting for it to run out of steam. But it never did.  Pleasantly listenable from beginning to end. I imagine audiences must have left the theater in 1826 feeling their evening had been enjoyably spent. 

 ALINA REGINA DI GOLCONDA(Donizetti-1828).

There’s nothing in the score to suggest this opera’s exotic setting. But it still makes for very pleasant listening. Alina of the title is a European maiden captured by pirates and carried off to Golconda in India. The local king, smitten in fairytale style, takes her as his queen. And there's still a great deal more story after that. All suitably adorned with show-off coloratura moments for its heroine and lots of effectively integrated choral dazzle.

DER VAMPYR(Marschner-1828)

A startling creation, “Der Vampyr” seems many generations ahead of the period when it was first written and performed. Some say it was heavily influenced by Weber’s famous supernatural opera “Der Freischutz” from 1821. But to these ears Weber’s approach sounds straightforward  and rather conventional next to that of Marschner, who skilfully blends older musical styles with sudden rhythmic and tonal shifts that can take your breath away. Wagner saw both onstage as a youngster and remembered the Weber as disappointing, the Marschner as a  genuine revelation. Certainly , Marschner’s opera has a strong premise. A charismatic vampire has till midnight to find three pure – but willing – victims or his own existence will cease. For whatever reasons, the opera has never really entered the standard repertoire. But there have been some worthy revivals over the years. The BBC did a TV production, setting it in Jack the Ripper’s London. And on YouTube I caught the second half of a Hungarian production (the first part being maddeningly unavailable). This time they relocated it to feudal Japan, giving the piece altogether different levels of fascination. visual and otherwise. The CD to get is the Cappriccio one from 1999 with Franz Hawlata, outstanding in the title role. A really magnificent recording. 

IMELDA DE’ LAMBERTAZZI(Donizetti-1830)

A Romeo and Juliet type scenario enhanced by a well constructed score. Nice mix of stirring drama and lilting melody. A particular highlight is the heroine’s ‘Ma il ciel non ode I miei lamenti” in Act One. Surprised it’s not a more frequent choice for sopranos to single out for concert or album performance. 

IL DILUVIO UNIVERSALE(Donizetti-1830)

Composers, often eager for commissions, sometimes wrote works for specific religious and state occasions. This opera, based on the Biblical story of the Great Flood, was created to be performed during the Lenten season in Genoa. As a listening experience, it comes off as a very spirited oratorio, full of stirring choral passages, often aiming for (and capturing) a grandeur commensurate to its subject. 

ROSMONDA D’INGHILTERRA(Donizetti-1834)

This opera concerns Henry II of England and his wife, Eleanor of Aquitaine, principals of the famous play (and film) “The Lion in Winter”. The purported incidents here take place much earlier in their lives. If true, they would certainly add further credibility to the bitterly complicated relationship the two shared in later years. The pair’s behaviour in the course of Donizetti’s opera leads to violence and tragedy and would certainly afford each plenty of reason to blame the other. Henry seduces an innocent (Rosmonda) - who doesn’t know he’s the king and doesn’t know he’s married. He installs his lovelorn conquest in a remote hiding place. But Eleanor gets wind of the affair and begins to plot a complicated revenge. Neither Henry nor Eleanor are portrayed as complete villains but the results of their considerable misbehaviour redound most tragically on Rosmonda herself. Donizetti’s music is crisply engaging throughout. But he invest particular sensitivity and tenderness in the passages sung by Rosmonda. The opera, while mildly popular when it first appeared, languished in obscurity for 150 years or so thereafter. Two Opera Rare recordings, one in 1975 the other in 1994 did much to reestablish its profile. In the later version, future luminary Renee Fleming played Rosmonda and the resultant acclaim did much to put her on the map. 

HOW I GOT THIS WAY

I guess life’s a series of detours that turn out – in the end – to be the appointed road. As I said I came to opera late – well into my senior years. Up to then my musical obsessions, many and  varied, had  never really included opera.

I love peplum/sword and sandal movies, Egypt and Babylon being my two favourite settings for same. As it happens, my real entry point to the world of opera was the overture to Rossini’s “Semiramide”. Having learned that this particular opera was set in ancient Babylon, I took it into my head to listen to its overture on YouTube. What I’d hoped for was some kind of precursor to the kind of score Hollywood composers had concocted for peplum epics. Huge orchestra, music swirling with minor key flourishes – fragrant exotica that instantly conjured up images of temples, palaces and peacock thrones. What I got instead was spectacular but in a completely different way. I’d expected something portentous; instead I found that wonderful mixture of the jaunty and the stately that was a key to so much baroque and early romantic music. The "Semiramide" overture was such a surprise I found myself intrigued. So I listened to a full recording of the opera (the 1992 Deutsche Grammaphon one conducted by Ion Marin starring Cheryl Studer, Jennifer Larmore, Samuel Ramey and Frank Lopardo). Ramey’s the only one I’d ever heard of before but all four principals impressed me mightily. As did the entire opera. The grandeur I’d hoped for was there – but the music also had an intoxicatingly frisky energy I wouldn’t have thought compatible with the setting and story. But it worked magnificently. That cast never filmed a performance of “Semiramide” so I acquired a DVD of a June Anderson/Marilyn Horne production from 1990 – also featuring Ramey). And one viewing sealed the deal for me. It remains one of my very favorite opera DVD.s. After that I embarked on a Rossini quest that had me exploring one after another of his works. As it turned out, it was his dramatic creations that appealed to me most. Somehow the famous comic ones, “Il Barbiere di Siviglia” and “Cenenterola” just didn’t do it for me, But things like “Ermione”, “Elisabetta Regina d’Inghilterra” and “Maometto II” pushed all my buttons in just the right way. At first I figured my opera interests would be confined to the works Signor Rossini put out during his all too brief operatic career (1812 to 1829). But eventually other composers and other eras beckoned. Now my long list of favorites stretches from 1600 well into the 20^th century.  

As I continued to explore, I retained some of the giddily exciting feeling that I was operating without a guidebook. Opera remains mainly a listening experience for me. Just sitting in the dark, eyes closed drinking it all in. The fact that most operas I encounter are in languages other than English carries a certain advantage. I almost always read a synopsis of the plot beforehand. But – as I listen to an opera I'm enjoying – I find it easy to convince myself that its libretto is as polished and beguiling as the music. The phonetic sound of the words – even in a language I don’t understand – can still be transporting.

I remain something of a stranger in a strange land where opera’s concerned. But it’s a land I’m excited to have encountered. With my limited knowledge, there’s still a sense that I’m listening from the other side of the door. Maybe I’ll never be able to get more than my foot into the actual auditorium. But what I’ve been able to suss out is sufficiently intoxicating that I continue to explore, enthusiasm unabated.

There are some who bemoan the fact that modern operatic composers don’t seem to be writing works in the old bel canto and baroque styles. But there are hundreds, thousands of lesser known operas that have been written in that style over the centuries.  And every year more are rediscovered and - in the best case scenarios - recorded for new generations to discover. The wonderful operas of Mercadante, Mayr and countless others are now easily accessible after centuries of virtual obscurity. Music labels like Opera Rara and Bru Zane continue to revive unjustly forgotten works from past centuries with marvelous new recordings.

And if you’re interested in learning more about the worldwide opera repertoire, I strongly advise that you check out two wonderful websites. Phil’s Opera World and The Opera Scribe. Both are maintained by gentlemen with vast musical knowledge and the ability to convey that knowledge in an accessible and engaging way. They’ve turned me on to so many works I’d never have known about otherwise. For which I remain forever grateful.

So now I’ll continue with another my own little batch of chronological observations on operas that have pleased me.

SAFFO(Mayr-1794)

German born composer Simon Mayr produced a long series of Italian operas, that being opera’s then fashionable language. “Saffo”, set in ancient Greece. was his very first – and an instant success. It’s put together with great assurance. Stately when it has to be, then gentle and introspective – but always musically attractive. The first half is good, the second even better. In 1802 Mayr relocated to Italy beginning his greatest years of creativity and accomplishment. During Rossini’s early hey-day, Mayr was widely considered to be of at least equal eminence. 

LEONORA(Paer-1804)

The first decade or so of the nineteenth century stands as a relatively barren period in the history of opera. Appearing in retrospect as a kind of stage wait between the remarkable productivity of the late 18^th century and the meteoric rise of Rossini beginning in 1812. Even Simon Mayr, one of the leading lights of the 1890’s went into relative hibernation until Rossini’s rise revitalized his creative juices, inspiring him to another period of great prominence. But there were a couple of works from the beginning of the century that deserve to be remembered and honored much more than they are. One is Ferdinando Paer’s “Leonora”. It’s set to the same story as Beethoven’s much more famous “Fidelio” (the composer’s only opera). Though Paer’s opus is not particularly well-known, those lucky enough to encounter it will find that its music still retains the ability to beguile across the centuries. “Leonora”’s score preserves the stately qualities of the baroque era – but infuses them with a fresh blast of spontaneity. Or at very least an artful simulation of same. The arias tumble past, one gem after another, each sympathetically and creatively orchestrated. Even the recitatives spark pleasurable engagement. Hard to single out one highlight when there are so many pleasures to be had but the Act 1 duet “Quai pensiero”, with it sublimely bracing momentum is hard to resist. A 2021 recording from Innsbruck, Austria (made under strict covid regulations) is conducted with enthusiasm and expertise by Alessandro De Marchi; the whole cast is superb, the standout being soprano Eleanora Bellocci, stunningly assured in the marathon title role.

FERNAND CORTEZ(Spontini-1809)

On the rare occasions Spontini’s “Fernand Cortez” is discussed it’s usually written off as a grandiose stage production whose operatic score was of little substance. The piece was basically created at the behest of no less a personage than Napoleon himself. He admired Spontini’s work and encouraged the composer to write a grand-scale opera which would celebrate the idea of a magnanimous conqueror, that being pretty much Napoleon’s self-image. Spontini chose Cortez’s conquest of the Aztecs as his subject, presenting the Spanish adventurer in a light far more flattering than history generally accords him. The resultant production was extravagant on every level. Napoleon himself attended the premiere and the public received the work with clamorous enthusiasm. After the emperor’s downfall, though, performances became decidedly less frequent. Like most people on earth, I’ve never seen a production of “Fernand Cortez”. But I have heard the 1999 recording on Accord conducted by Jean-Paul Penin - and  loved every minute of it. The performers are excellent; Melena Marras (as Cortez) sounds particularly great. In fact, musically there’s never a dull moment. Captivating choral sections, beautifully orchestrated ballet interludes; what’s on offer, in effect, is a breathtakingly sustained stream of captivating melody. Conductor Penin approaches Spontini’s score with passion and precision and – even without visuals to razzle dazzle us - expertly brings it to grand, glowing life. 

  LA PIETRA DEL PARAGONE(Rossini-1812)

This was the first Rossini opera to be professionally staged (he was just twenty at the time). Immediately appreciated, it brought the composer offers for several new commissions. And within a couple of years, he was not only at the forefront of the Italian opera scene; his music and fame had taken most of Europe by storm as well. “La Pietra del Paragone” (loosely The Paragon of Perfection) is a completely engaging work, a lighthearted piece about a man who projects levels of perfection onto his fiancée – levels she is entirely (and understandably) uncomfortable about maintaining. There’s a naturalness, an unforced variety to the music that lends the piece a wonderfully unassuming quality. Everything just flows with a happy momentum. Especially fine are the numerous ensembles involving various combinations of the principals; they’re generally upbeat and always beautifully constructed. Rossini soon had even bigger comedy successes with “Il Barbiere di Seviglia” and “Cenenterola”. But – to my ears – these have a show-offy, winking at the audience, aren’t I funny feeling that simply isn’t there in La Pietra. I myself tend to prefer the composer’s more serious operas. So did his wife and muse, the famous soprano Isabel Colbran. So those became his main focus. But of Rossini’s comedies, “La Pietra del Paragone” remains the one I continue to listen to and love. 

 L’ITALIANA IN ALGERI(Rossini-1813)

The tremendous success of this bright bauble marked an important step in Rossini’s meteoric rise to the top of the Italian opera scene. And he was barely 21 at the time. His music here nicely matches the merry momentum of the story. A young Italian girl is shipwrecked off the coast of North Africa; in short order she’s plunked down in the harem of a North African sultan where – through a series of adventures – she learns to take charge of her own fate. In the process, even helping set off a palace revolution. By story’s end she’s headed home. But now – empowered and confident – is happily in control of her own future.

SIGISMONDO(Rossini-1814)

“Sigismondo” is set in 16^th century Poland with a plot that’s convoluted and implausible even by bel canto standards. But as a listening experience it’s rock solid. My acquaintance with the work comes via an excellent live recording from 2019. It may be one of Rossini’s lesser known operas, but in the capable hands of Canadian conductor Keri Lynn Wilson, “Sigismondo” registers as a work of austere – and sustained – beauty. Unfolding with stately momentum  - which is not to suggest any lack of energy. The Hunter’s Chorus in Act 1, for example – with its blend of rich male harmonies and hunting horns - is an especially rousing highlight. One other thing that pleased me very much about “Sigismondo” was the virtual absence of annoying recitatives. Already, this early in his career, Rossini was fully embracing the concept of opera as a seamlessly flowing experience.  The role of Sigismondo, King of Poland is written to be played and sung by a female, specifically a mezzo-soprano. Onstage, this practice – once common – doesn’t always sit comfortably with me. Here – as a purely aural experience, it works fine. The same kind of gender-bending casting occurs in Rossini’s later masterpiece “Semiramide”. That opera I’ve seen in a marvelous video presentation. And the female as male thing registered perfectly there.  But – of course – the role was performed by the great Marilyn Horne, an artist seemingly incapable of putting a wrong foot forward.

ELENA(Mayr-1814)

A soap bubble of an opera– light, pretty, practically iridescent at times – leaning toward insubstantiality but not at all lacking in pleasures   This is what’s known as a “rescue opera”, built around efforts (ultimately successful) to come to the aid of someone in danger or captivity – frequently the heroine. The same basic story was transferred from Italy to Scotland for Meyerbeer’s “Emma di Resburgo” in 1819 with weightier results.

ELISABETTA REGINA D’INGHILTERRA(Rossini-1815)

Royals were a popular subject for opera throughout the 1800’s and the Tudors certainly came in for their fair share of the spotlight. Here the focus was on Good Queen Bess herself. And Rossini honoured  that famous lady with one of his finest scores.  In this telling, the queen is romantically attracted to the dashing Duke of Leicester. Sensing Elizabeth’s interest and reluctant to jeopardize his position at court - – Leicester fails to reveal that he’s secretly wed to the daughter of one her enemies. The ambitious Duke of Norfolk lets that particular cat out of the bag and - momentarily enraged - the monarch threatens the married pair with death. Eventually though, the couple – still loyal to their queen – save her from an assassination attempt by none other than the ever scheming Norfolk. Grateful, she not only decides to overlook the pair’s previous deception but heaps Leicester with new honors. Suppressing her romantic feelings, Elizabeth vows from now on to concentrate all her energies on ensuring the welfare of her country and her subjects.  The Philips recording I own - conducted by Gianfranco Masini – dates from 1975. And it’s splendid. Montserrat Caballe, at the height of her considerable powers, is Elizabeth; Jose Carreras, voice gleaming like a newly cut diamond, makes a marvelous Leicester. And Valerie Masterson – as Leicester’s bride - brings genuine distinction to the role. She delivers her aria “Sento un interno voce” with such tender intimacy one hates to hear it end. The whole opera teems with great duets – one of the best “Misera! A quale stato” is shared by Elizabeth and Norfolk. Rossini also supplies a wealth of choral material, sung beautifully on the Philips recording. And the orchestral accompaniment combines dramatic enhancement and sheer beauty with real mastery. All in all, a great performance - but it’s important to note that “Elisabetta Regina d’Inghilterra” is splendid to begin with. No wonder audiences reacted so rapturously to Rossini’s early operas. He shed new light on the whole operatic scene. Suddenly there was a new sun in the sky.

TORVALDO E DORLISKA(Rossini-1815)

This one’s a swirl of castles, complications and coloratura flourishes. Basically, noble Dorliska is adbucted by the evil Duke of Ordow.  Her husband, the knight Torvaldo, with the help of confederates, sets about trying to rescue her. The mission is eventually accomplished allowing the curtain to fall on rejoicing from all but the villain. At this (fairly early) point in his career, Rossini seemed practically incapable of writing a score that was anything but melodious. Right from Torvaldo’s beautiful opening aria to the rousing finale, this is a winner. 

ALFREDO IL GRANDE(Mayr-1819)

A thoroughly marvelous score from Simon Mayr, virtually the only opera composer popular in the 18^th century to continue his winning streak decades into the 19^th. “Alfredo il Grande” retold the familiar legend of 9^th century Saxon king Alfred the Great being pursued into hiding by Viking enemies. This forces him to spend a good deal of the opera on the run and incognito. That incognito element is strongly reinforced by the fact that – in Mayr’s version - the part’s played by a woman. These so-called “trouser roles” were still a common feature of operas at the time. In fact, the genre regularly demonstrated a sort of gender fluidity. In the preceding century castrati had often played women’s roles. And throughout the 1800’s the sight of women in trousers wooing women in gowns seldom seemed to pose a problem for opera audiences. Perhaps some felt a degree of titillation but most seem to have just accepted it as one more element of theatrical glamour. As for “Alfredo il Grande”’s score, it opens with a pleasantly quirky overture then quickly segues into a rousing male choral number. The air of pastoral woodland charm is kept alive throughout with the judicious use of hunting horns and lots more male choral material. But then everything in the score – start to finish -bristles with an engaging fresh air quality.  Rossini produced three fine – and very popular - opera scores in 1819. But Mayr’s opus, which appeared around Christmas that year, was as good as any of them.

EMMA DI RESBURGO(Meyerbeer-1819)

Set in Scotland, this one’s a complete pleasure.  In the Rossini style – but still full of lovely musical surprises. I particularly remember a sprinkling of harp near the beginning that quietly dazzles. This was an early success for Meyerbeer – but for whatever reasons – was hardly ever revived after the composer’s lifetime. A live recording (on CD) from 2010 does real justice to the work. German soprano Simone Kermes is particularly impressive in the title role.

BIANCA E FALLIERO(Rossini-1819)

Though not without its unexpected moments (the recurrent single instrumental chord repeated at jackhammer speed during the otherwise placidly lilting “Pace Alfin” section in Act 1), Rossini’s score here tends to value consistency over showstopping moments. There are several ensemble numbers with cleverly intersecting vocal parts; the stately quartet near the end of Act 2 is admired by many. But for the most part the story is modestly enhanced – rather than transfigured - by the music. That story, by the way, involves a young Venetian noblewoman (Bianca) who – after the man she loves has reportedly died in battle – is committed by her ambitious father to a politically advantageous marriage. When Bianca’s beloved (Falliero) turns up alive, she refuses to continue with plans for the arranged marriage. Causing much in the way of ruffled feathers, hand-wringing and devious plotting on the parts of her father and other concerned parties. All ends happily, though, when Bianca’s unwanted bridegroom becomes convinced that the bond between Bianca and Falliero is simply too strong and noble to ignore and he withdraws his claim.

LA DONNA DEL LAGO(Rossini-1819)

The novels and stories of author Sir Walter Scott enjoyed a great wave of popularity in early 19^th century Italy. Heroes like Ivanhoe and Rob Roy, highland settings and Scottish motifs suddenly captured the public’s imagination in a gigantic way. The success of Rossini’s “La Donna del Lago” (based on Scott’s epic narrative poem “The Lady in the Lake”) inspired other composers to look to Scott for operatic inspiration. Donizetti alone wrote two (“Il Castello di Kenilworth” and “Lucia di Lammermoor”). “La Donna del Lago” is easily one of Rossini’s most consistently melodious works, an impressive statement considering the man’s prodigiously applied gift for melody. A brief, beguilingly energized instrumental opening quickly morphs into a jubilant choral outburst, peppered with a sprinkling of hunting horns. The outdoor setting bracingly established, the heroine (the Lady of the Lake herself) drifts into view on a small boat singing the ethereal “O mattutini albori”, a melody that will make frequent and welcome reappearances as the play progresses. She encounters a handsome fugitive (not knowing he’s the young King of Scotland incognito) and offers him her family’s protection. But not, of course, before the two have shared the first of many lovely duets. The chorus gets plenty of opportunities to shine throughout the evening. And Rossini’s music manages a lovely balance between galloping gaiety and quiet contemplation. Transitions always seem organic, never jarring. In fact, the entire work seems to operate like an elegant, gracefully spinning mechanism that always finds just the right tempo for every moment.