Donizetti * Enrico di Borgogna _ World Premiere Recording of His First Opera / Vadstena Academy
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- čas přidán 21. 08. 2024
- Act I 0:00:01
Act I finale 1:15:17
Act II 1:23:58
Gaetano Donizetti, Enrico di Borgogna -
Opera semiseria ('opera eroica') in 2 acts;
Vadstena Academy Orchestra and Choir,
Olof Boman (conductor), Vadstena Castle,
Sweden, August 2012
Cast:
Enrico: Kinga Dobay, mezzo.
Pietro: Markus Pettersson, tenor.
Elisa: Rebecca Rasmussen, soprano.
Guido: Thomas Volle, tenor.
Brunone: Ludvig Lindström, baritone.
Gilberto: Christian Oldenburg, baritone.
Nicola: Peter Nyqvist, bass.
Geltrude: Christina Nilsson, soprano.
Production:
Vadstena Academy
Direction and choreography: Clara Svärd
Stage design: Clive Leaver
Costume design: Anna Kjellsdotter
Lighting design: Jimmy Ström
Makeup design: Katrin Wahlberg
Editor: Anders Wiklund
Vadstena Academy staged the first performance of Donizetti's Enrico di Borgogna in modern times.
Alan Jackson has provided the following commentary following his visit on August 3, 2012:
The first performance of Donizetti’s first opera took place in Venice in 1818. The Vadstena Academy’s performances this summer marked its first revival, thanks to Anders Wiklund’s work in producing a performing edition using an incomplete score in the Bibliothèque Nationale in Paris and a thankfully complete score more recently discovered in the Royal Library in Copenhagen. Both of these are manuscript copies; the autograph seems lost.
The Vadstena Academy is one of Sweden’s foremost centres of continuing education for opera singers and musicians. A UK equivalent would perhaps be the opera course at Guildhall School of Music and Drama or British Youth Opera, though the programme biography for mezzo-soprano Dinga Dobay who took the title role reveals a somewhat more advanced career. The Academy’s repertoire policy is to study and perform a newly written work and an old work that has not been performed in modern times. Past students include Anne-Sofie von Otter, Hillevi Martinpelto, Camilla Tilling and Nina Stemme (to name a few that are familiar to me).
I found Enrico attractive to listen to, fascinating even, as one tries to identify the influences at that very early stage of his career. Given that Mayr was Donizetti’s first teacher, it seems reasonable to describe the music of Enrico as Mayrian with Rossinian flavourings - the Rossini of Tancredi and the comedies such as La Cenerentola which Donizetti would have heard in Bergamo in 1818. Typical Donizetti lyricism is still a few years ahead. The vocal writing is florid, as one would expect, and most of it was capably managed by the cast, including the men. But pre-eminent were the two leading ladies, Rebecca Rasmussen as Elisa (even though illness led to some cuts in her music at the performance I attended) and especially Kinga Dobay in the virtuosic title role, a trouser part. The orchestra of period instruments was admirably conducted by Olof Boman. The production by Clara Svärd was straight-forward, props were limited but apt, costumes were historical, and thankfully army fatigues and machine guns were nowhere to be seen. The best known moment is probably the opening of Enrico’s Act I cabaletta. Donizetti re-used the theme in Anna Bolena’s mad scene, though I wonder how conscious this was. All in all, a fascinating and enjoyable evening. Congratulations to Vadstena for exhuming Enrico; it deserves not to wait another 194 years for its next revival.
Donicetti = Genius
Référence :
20:18
55:01
1:53:54
Thanks a lot for this wonderfull recording!
The overture is great. Also, Donizetti's brass-ladenness is already there, and I love it. I don't know why they didn't applaud Guido's tremendous scene near the end. The guy bleated a bit at times, but did a very VERY good job. Very glad to have found that.
Bravi
Great - thank for uploading!
El genio se manifiesta desde su primera aparición.
Wonderfu, thanks a lot.
al Donizetti Festival di Bergamo, 2018, ottima produzione con cast eccellente e una superba direzione d'orchestra: tutti i cantanti dei ruoli principali hanno fatto un lavoro ammirevole, sia come canto che come performance in scena, spero che ci sarà presto il CD di quello che ho visto al teatro Sociale qualche giorno fa!
38:10; 1:06:50; 1:10:19; 2:01:30; 2:22:32
The king has been deceived and murdered by his own brother. The king's bodyguards, Pietro and Brunone, manage to escape with Enrico, the first-born son of the king and the rightful heir to the throne. During Pietro’s escape, his wife is killed before they can get to safety. Brunone stays in the castle, becoming the new king's bodyguard.
Time: The Middle Ages
Place: Burgundy
Act 1
Nicola, the young shepherd, and his friends find the old man Pietro weeping before by his wife's grave, as he has done many times. They try to cheer him up, and, after that, carry on with their work, leaving Pietro alone.
Enrico, now a young man, is on his way home from fishing; he is tired of the simple life up in the mountains and is longing for something more exciting. He is also thinking about the girl of his dreams, Elisa, whom he has seen several times in the mountains. Brunone arrives at Pietro's cabin and tells him that the king is dead and that his weak son Guido has taken his place. He explains that this is the time to strike if they want to see Enrico installed on the throne. When Enrico arrives and learns the truth, they give him his father's sword and he decides to accept his fate. In the castle the new king Guido and his jester Gilberto are planning Guido's marriage with Elisa, but she has just lost her father and is still mourning; she refuses to marry Guido, but he forces her to accept his proposal, and the wedding plans begin.
Scene: Day - at the court in Arles
The jester Gilberto speaking to Guido says that truth and merit are overrated. Guido asks the jester to tell him what the people think of him becoming their king. Gilberto flatters him, but Guido is not satisfied until he learns that some of the people are complaining.
Elisa enters in the company of Guido's bodyguards who invites her to rejoice in the happiness of marriage. Elisha is unhappy. She hope to see Enrico again. When she is left alone with her lady in waiting, Geltrude, she confesses to her of her love. Guido forces Elizabeth to change her mourning clothes into the wedding attire and appeals to her to give in to his great love for her. She replies that he can force her into marriage but her heart will never change.
Scene: Evening - in the square
The wedding procession has gathered in the square. Enrico and Pietro arrive and are unaware of the wedding. Elisa faints. Pietro and Brunone furiously try to stop Enrico's jealousy from revealing himself as her true love. A heavy storm occurs, and Guido is forced to postpone the wedding.
Act 2
Scene: Night - at the castle
Brunone and Pietro reveal to the insurgents that Enrico has returned. Enrico has slipped into the castle to see Elisa for the last time. Enrico meets jester Gilberto who at the last moment hides him from Guido. Gilberto promises to show Enrico to Elisa's room.
Elisa enters. Guido is threatening her with death if she did not keep her promise of marriage. The threat is ineffective because she would rather die than marry Guido. Guido gives the order for the wedding and leaves the room. Gilberto shows Enrico to Elisa's room with the warning that women are in the world to create disorder.
Enrico and Elisa meet. At first, he rejects her declaration that she was forced into marriage with Guido. When he learns about her promise to her father, he understands everything and the two reunite. Guido rushes into the room. At the same time Brunone, Pietro and Nicola entered the castle. The truth about Enrico's birth is revealed to Guido and Elisa. Guido orders the confused guards to arrest the four but the guards put down their weapons and Enrico wins.
Scene 2: Daybreak - at the castle
Guido is terrified. People storms in and want to take revenge on Guido, but Enrico admonishes his people with a message of peace.
@Ron Edwards: Gracias otra vez.
2:25:42 (Reference)
My goodness, the sinfonia is so Rossinian...
+Jay Bee more Mayr than Rossini. The famous "Rossini crescendo" was also a Simon Mayr creation. Mayr was Donizetti's teacher.
+gettyO89 Thank you for the reply :)
4:10 it's CEnerentola copy paste ahah
Do you know where I can find the track names?
There is the text in Google Books. If you go there and type "Enrico di Borgogna - Merelli" you should get it.
The overture not so much, but 2:12:00 onwards is pure Rossini, extremely close IMO to the Tancredi Act I Finale
/ PS This is one cr#p audience
Poiché niente nasce dal nulla ecco il Donizetti alla sua seconda opera con citazioni di Rossini .Lui prenderà le mosse dal pesarese così come più tardi Verdi proprio da Donizetti.
Mintha Rossini elég sokat merített volna innen. Donizetti örök szerelem, a zene és a kórus csodálatos, de ez a tenor (inkább hagyjuk)...
Hate the period instruments - it's Donizetti, not Bach!
It's early romantic period instruments; you think the moment Bach died the metal string and keyed horn was immediately invented and popularized ?????
@@kapellmeisterr You think that after Bach's death no development happened at all??
Pessimo il Pietro di Markus Pettersson, discreti gli altri. Sempre interessante Donizetti, soprattutto in questa opera giovanile dove chiari sono i rimandi rossiniani
COSTUMES ET MISE EN SC7NE TOUJOURS AUSSI NULS ET ANACHRONIQUES. Vous confondez opéra et films de science-fiction!!!