Composer Michael William Balfe composed 29 operas, and around 250 other pieces. He is best known for his opera The Bohemian Girl. Balfe’s opera Satanella was his 23rd opera, and was premiered at Covent Garden in 1858. The work is a hybrid of classical opera tradition and stand-alone songs. This release is performed by the John Powell Singers and the Victorian Opera Orchestra under the direction of Richard Bonynge.
This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. (Joe McLellan)
“Sutherland is in her element here - and what a wonderful score it is too…Horne has the odd moment of unsteadiness in the early parts of the opera, but she is impressive in the brilliant Brindisi of the last Act” (The Penguin Guide)
Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. (BBC MUSIC MAGAZINE)