Georges Bizet - Don Procopio (1859) - "Sulle piume dell'amore" (Alain Vanzo & Mady Mesple)

Bizet composed "Don Procopio" in 1859, when he was 21, living in Rome as a Prix de Rome winner. He was then infatuated with the Italian language and felt his destiny lay in the field of comic opera, and, indeed, during the composition he intentionally aimed at an Italian style. The opera was, however, not produced in his lifetime, and the manuscript was presumed lost until it was discovered in the papers of Auber, finally being staged in 1906.
The plot is almost identical to Donizetti's "Don Pasquale": Don Andronico (baritone), wants to marry his niece Bettina (soprano; Norina) to an old miser, Don Procopio (bass; he and Don Adronico stand in for Don Pasquale), because he is worried that a young man will spend all her money. Bettina is, however, in love with Colonel Odoardo (tenor; Ernesto). Assisted by her aunt Eusebia (soprano) and brother Ernesto (baritone) they hatch a plan to thwart the old men which they most successfully accomplish.
The opera could be considered lightweight, heavily indebted to Donizetti's comic operas without actually becoming an equivalent of "Don Pasquale". It is, however, unusually well-written for such a young composer with little to criticize and much to enjoy (the only complaint the jury could think of is the fact that Bizet had not composed a sacred work). In this instance I decided to limit the upload only its two greatest highlights (in my opinion, of course).
I. "Sulle piume dell'amore". Just as Ernesto, the tenor has a tender serenade with which he proclaims his love for Bettina. Not only is the text's sentiments almost identical to Donizetti's piece, it is similarly set as a series of two couplets, albeit in a more restrained mood and without the use of the chorus. The accompaniment is unusual, incorporating to a great extent a suitably fresh guitar bass line which is overtaken by some rich ornamentation in the repeat, and sudden surges of the winds (comparable to the effects used in the central section of Marie's grand scene from "Ivan IV"). The piece is longer, adopting a short duettino for the lovers but its quality is somewhat lacking, especially in comparison with the basic musical material of the serenade.
II. "Per me beato appieno". The Second Act duet for soprano and tenor, placed just before the finaletto, is disarmingly tender and offers a glimpse of the composer who would go on to write "Au fond du temple saint", incorporating a traditional harp accompaniment that only complements the lovers' emotional outpourings, though the repeat features some oversentimental orchestral effects that cannot, however, destroy the music's basic appeal.
Bruno Amaducci - Conductor,
Orchestre Lyrique de l'O.R.T.F. - Orchestra.
Alain Vanzo - Don Odoardo,
Mady Mesple - Donna Bettina.
Hope you'll enjoy :).
P.S. Be sure to check the bonus video in the "Video Responses" :D.

[@markbeck8384]

I love Alain Vanzo's voice. This is a pretty piece, very Italian feeling. Bizet was quite a talent!

[@shishirth]

The duet is really nice!

[@marcioantoniomatias494]

Bonito, mais que bonito...

[@Zeitiah]

hello random English speaker that loves classical music!

[@michaelbrodsky1221]

Many, many thanks--isn't this used in "La Jolie Fille de Perth"?

[@Euridices100]

Stupendo ! non sapevo che Bizet aveva scritto anche per mandolino.

[@generalasambadze9532]

Dzalian amagelvebeli da satirali operaa mosawyeni nagvliani cremlebis momgvreli

[@user-nn2qs9xf8o]

ПРИВЕТ

[@kubilayaydin7428]

Şoför Deyip Geçmeyin filminden gelenler?

[@aytacdurak6575]

malesef kartal tibet son hatira filminden 1968