FAUSTA - GAETANO DONIZETTI - 1981
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Fausta - Raina Kabaivanska
Costantino il Grande - Renato Bruson
Crispo - Giuseppe Giacomini
Massimiano - Luigi Roni
Licinia - Ambra Vespasiani
Albino - Tullio Pan
Conductor - Daniel Oren
Orchestra - Teatro dell'Opera di Roma
Chorus - Teatro dell'Opera di Roma
Io ero presente e ne sono uscito veramente contento di avere ascoltato questa rarità. La Kabaivanska stupefacente e Bruson veramente superbo, del resto possiamo dire come al solito. La Kabaivanska dimostra una volta in più che oltre ad essere stata una grandissima soprano nel repertorio di Puccini..., è stata anche una grandissima belcantista. Dopo lei, la Scotto e la Devia c'è poco in giro in questo repertorio al loro livello. Ho avuto la fortuna di vedere la Kabaivanska in teatro anche in Butterfly e Manon: incredibile. Avrebbe meritato ancora più successo e di incidere più dischi.
Ho avuto la grande fortuna di essere a Roma e vedere in teatro questo capolavoro. Raina superba, Bruson e Giacomini alla sua altezza.
Qué vibrato más hermoso y natural de la soprano, como el de mi cuñada Gilda Subieta Arredondo (QEPD) from Cochabamba, Bolivia
'Fausta' is based on the (improvised) 1827 drama 'Crispo' by Tommaso Sgricci (1789-1836). Considering his pan-European fame in post-Napoleonic Europe, the flamboyant, handsome, and controversial performer Tommaso Sgricci merits greater attention in studies of the Romantic period. Sgricci, who trained as a lawyer but discovered a talent for poetic improvisation while in his teens, began performing in theatres throughout Italy after 1816. He became the most famous of the nineteenth-century Italian 'improvvisatori' or stage improvisers, and was known from London to St. Petersburg for his ability to extemporize, not only poetry, but also entire dramas, on themes proposed by his audience.
The sensation he caused by improvising Classical tragedies, playing all the male and female roles as well as a tragic chorus, was heightened by his controversial lifestyle: in addition to his unhidden homosexuality, there was the suspicion of political radicalism that caused soldiers to be posted at many of his performances. From the time of his debut in Rome, Sgricci’s performances were reported on in newspapers and journals throughout Europe. Even before he toured Paris and London in the 1820s, his name was well enough known abroad to be mentioned casually in popular literature in English, French, and German.
Most modern historians point out that the story is unreliable, appearing to have been invented to explain Constantine's conversion to Christianity, but then wind up settling for some version of it, for want of any better alternative. Discussion then usually turns to speculation about details. Did Crispus actually "debauch" his step-mother or merely attempt to do so? Or did Fausta, a la Phaedra or Potiphar's wife, attempt to seduce her step-son and then, when he rejected her blandishments, run to Constantine and accuse Crispus of being the aggressor? Was it Helena who in fact convinced Constantine of Crispus' innocence and Fausta's guilt (and if so how did she know?), or did she perhaps accuse Fausta of an unrelated crime, such as adultery? The great historian of the later Roman Empire, Arnold Hugh Martin Jones, presents an alternate hypothesis in his book 'Constantine and the Conversion of Europe'. Prof. Jones concedes that we can never be sure as to what happened:
"All we know for certain is that the Caesar Crispus, Constantine's brilliant eldest son, who had recently distinguished himself in the campaign against Licinius, was without warning, as he was accompanying his father to the Vicennalia celebrations at Rome, executed at Pola, and that shortly afterwards the Empress Fausta, recently proclaimed Augusta, was mysteriously put to death - rumour said by suffocation in the hot chamber of her bath."
However, Prof. Jones concludes that "it would seem unlikely that the melodramatic story recounted by later writers is true" and the two deaths "were unconnected, despite their coincidence in time." He believes that "a clue to Crispus' offense is perhaps to be found in an extraordinary edict which Constantine issued from Aquileia on April 1, 326, entitled "On the Abduction of Virgins or Unmarried Women" (De raptu virginum vel viduarum, found at Theodosian Code IX.24.1 et seq.). In it Constantine "imposes 'most savage penalties' (they are not on record, having been reduced later to capital punishment) on abduction, and this whether the girl was willing or unwilling; in the former case she is to suffer the same penalty as her paramour, in the latter she is still to be penalized by the loss of her rights of inheritance, because she could have roused the neighbors by her cries. The girl's parents, if they condone the offence, are to be deported. Servants who acted as go-betweens are to have their mouths closed with molten lead."
Prachtige opname, mooie melodieën , geweldige stemmen, ontroerend met hoeveel emotie wordt gezongen !
Opera bella, anzi molto bella! Che rientri nel repertorio!
Merci pour cette rareté
grandi interpreti grande opera
5:19 - 06:29 !
Lei fa ogni capello sulla mia pelle a stare in piedi, il mio cuore a smettere di battere, e le mie orecchie a squillare. Wow. Che bella donna. Che voce.
What a fabulous performance! Thanks so for posting this!
While perhaps not at the same level as other "forgotten" or otherwise overlooked operas by Donizetti (such as Poliuto, Caterina Cornaro and Maria di Rohan), Fausta has some phenomenal moments!
And having artists such as Kabaivanska, Bruson, Giacomini and Roni singing is truly a luxury. Great voices in very committed interpretations!
Quelle merveille MERCI
Geweldige uitvoering , prachtige stemmen!
Exelente bravo bravo giacomini por siempre
One of the best operas i have heard all 10/10 as beautiful as Lucia
Act 2 @ 1:36:35. Dreaming of a great recording/production. Constantino's beautiful baritone aria, "Se di regnar desio" -- sung by Renato Bruson -- @ 2:03:10 deserves to be better known. This 2nd Act Scena ends with the slow cabaletta "Ah! m'è figlio. E questo solo". Donizetti wrote four 'Roman' operas----L'esule di Roma, Fausta, Belisario, and Poliuto. The last 2 of these have regained somewhat their rightful return to the plausible Donizetti repertory, but require supreme artists. The first 2 will probably languish, but Fausta's grandeur should be explored.
!mrdunn brucvald L'esule is not bad either
Fausta is the most beautiful of all of them, so it deserves more notice.
In the top 5 Donizettis for me. And if I had to pick by performance it is this, hands down. Kabaivanska's haunting voice is just unreal here, transportive.
The audience approval at the beginning is for the overture (a fine one) which is sadly missing here. The 3CD set of this performance has it.
This overture was a popular concert number in the 19th century. Many of D's overtures are really delicious, the epitome of everything an overture should be. My favorite is 'Maria di Rohan'.
What I would give for a good broadcast recording of this performance...
...
missing the overture here ! (same as on the LP... but they did play it...!)
toemu2008 CD release has it.
Cybaletta constantino / Crispo 37:00 is same theme like Il diluvio universale Cabaletta Ada / Cadmo
TRE GRANDI VOCI:BRUSON,GIACOMINI,KABAINSKA
(1/2) 'The Deaths of Crispus and Fausta' (Blog: Elektratig/Oct. 14, 2012):
The emperor Constantine famously had both his adored eldest son Crispus and his wife Fausta killed in 326. Mystery has surrounded the events ever since. There are no contemporary accounts, and the earliest surviving recitations of events are overlaid with polemic. The most frequently-told story is based upon the version recounted some 175 years later by the pagan Byzantine historian Zosimus (floruit 490s - 510s), who in his New History tied the two deaths together. Constantine had Crispus, the son of his first wife Minervina, killed when he heard allegations that Crispus had assaulted his (Constantine's) second and then current wife Fausta. Constantine then had Fausta killed when he heard the allegation against Crispus had been false, or perhaps simply out of remorse:
"Now that the whole empire had fallen into the hands of Constantine, he no longer concealed his evil disposition and vicious inclinations, but acted as he pleased, without control. He indeed used the ancient worship of his country; though not so much out of honour or veneration as of necessity. Therefore he believed the soothsayers, who were expert in their art, as men who predicted the truth concerning all the great actions which he ever performed.
But when he came to Rome, he was filled with pride and arrogance. He resolved to begin his impious actions at home. For he put to death his son Crispus, stiled (as I mentioned) Caesar, on suspicion of debauching his step-mother Fausta, without any regard to the ties of nature. And when Constantine's own mother Helena expressed much sorrow for this atrocity, lamenting the young man's death with great bitterness, Constantine under pretence of comforting her, applied a remedy worse than the disease. For causing a bath to be heated to an extraordinary degree, he shut up Fausta in it, and a short time after took her out dead. Of which his conscience accusing him, as also of violating his oath, he went to the [pagan] priests to be purified from his crimes. But they told him, that there was no kind of lustration that was sufficient to clear him of such enormities.
A Spaniard, named Aegyptius, very familiar with the court-ladies, being at Rome, happened to fall into converse with Constantine, and assured him, that the Christian doctrine would teach him how to cleanse himself from all his offences, and that they who received it were immediately absolved from all their sins. Constantine had no sooner heard this than he easily believed what was told him, and forsaking the rites of his country, received those which Aegyptius offered him ...."
soberbia RAINA!!!
Fausta is a beautiful opera and unlike most of Donizetti's canon, is suffused with thrilling power. It's chief flaw is that the opera spends way too much time on the Maximian business. It detracts from Fausta emerging into a great heroine and the romantic angle is given short shrift. If the Maximian angle had been pruned and Fausta elevated, this would have been a masterpiece.
There are four main problems w this performance. The conducting is too plodding too frequently. Second, the tenor and soprano both are very frequently flat or sharp. The tenor is really awful, and despite her great qualities, this is not a role for the vocally rough-hewn Kabaivanska. Then, the set and production are sterile and boring. No human ever lived this much on steps! It often looks literally like a costumed concert, fighting against those stupid scrims coming up and down. Finally, the acting is static and wooden where it should be very human, vulnerable, intimate, in contrast to all the inherent Imperial splendour and formality, qualities which are self-evident and don't have to be stressed by the cast. On a positive note, how divine is the 'prelude' to act 1 sc 2 with Crispo? One dreams of seeing this with great singers. Yes, Bruson alone is great.
I'll bet you are a lot of fun at parties.