Ugo Conte di Parigi unfortunately, did not repeat the success of Donizetti’s Anna Bolena, because the Austrian censorship, which in that period was particularly strict and obtuse, requested a series of important changes that compromised its dramatic essence and, after 1846, the work disappeared altogether from the repertoire. Ugo Conte di Parigi really did not deserve such a fate, for it is - especially from the musical point of view - a work worthy of the best Donizetti, rich in moving melodies and compelling concertati.
Opera Rara chose this most obscure of Donizetti’s operas on the strength of its many beautiful and intricate ensembles. A convoluted plot culminates in the magnificent poison scene, conceived as a vehicle for the talents of the great singing actress Giuditta Pasta. Della Jones, Janet Price, Eiddwen Harrhy and Yvonne Kenny make their recording debuts for the first of Opera Rara’s Donizetti revivals.
One of the composer's most beguiling scores, La Favorite is Donizetti's La favorita in its original French form - a tale of love and war that represents a glorious mix of Italian bel canto and 19th century grand opera.
This famous production of Donizetti’s Mary Stuart was one of English National Opera’s most memorable from the 1980’s. Dame Janet Baker chose the title role of Donizetti’s Scottish queen for her farewell to the London operatic stage in 1982. It was a triumph for Dame Janet, in one of the most rewarding of operatic roles. As Mary, she displays her full range as a great singing actress, at times imperious and confrontational, yet during the quieter reflective moments intensely moving. Her adversary Elizabeth is sung by Rosalind Plowright, in one of the best performances of her career, both intense and passionate in this demanding role. The famous, though entirely fictional, encounter scene between the two Queens is extremely powerful. The cast also includes John Tomlinson I commanding voice as Talbot, and David Randall as an ardent Leicester. The Performance is gloriously conducted by Sir Charles Mackerras.
…bietet diese neue Aufnahme unter einem jungen, kraftvollen Dirigenten (Plasson), der es versteht, Donizettis dramatisches Feuer zu entfachen. Auch die jungen Sänger engagieren sich mit vollem Einsatz für das vergessene, aber sehr reizvolle Donizetti-Werk. Allen voran die Pendatchanska, die mit glutvollem, temperamentvollem Sopran die Titelpartie gestaltet, überzeugender als Caballé, die als einzige Vorgängerin betrachtet werden kann. Auch Moretti bringt für den Ugo das Timbre, die Technik und die Leidenschaft mit - unerklärlich deswegen die brutale Kürzung seiner Cabaletta im 2.Akt. Technisch unsicherer aber dramatisch kraftvoll De Andrès als Bösewicht Azzo und kultiviert Aliev als Ernesto. Sieht man in das mitgelieferte Libretto hinein, werden kleine Streichungen in der Oper sichtbar, die uns hier jedoch als Ohrenschmaus und geglückte Wiederentdeckung präsentiert wird.
This is the first release on CD of this recording of Donizetti's comic masterpiece Don Pasquale. The opera is a cruel, amusing take on the generation gap and has a concentration and vitality that sets it in a class of its own. In this all-Italian cast production Anna Maccianti as Norina stands out.
Roberto Devereux stands as one of Donizetti's greatest achievements in dramatic opera, the other two being Lucrezia Borgia and Lucia di Lammermoor (in my realm of judgment). Like most lovers of bel canto and Donizetti, I'm led into this foray of musical richness through Lucia; which though a great opera, has been largely overperformed at the expense of his greater operas like Devereux and Borgia. Not venturing to extoll the relative merits of the operas mentioned here, I shall focus my review on this recording of Donizetti's seminal opera.