SEEN AND HEARD INTERNATIONAL

 

Production:

Caramoor Center Chief Executive and General Director- Michael Barrett
Assistant Conductor -Rachelle Jonck
Production Stage Manager- Francesca DeRenzi
Italian Coach - Lucy Tucker
Yates Rehearsal
Pianist -Matthew Aucoin
Super Titles -Ellen Keel

 

Performers:

Maria , Countess of Rohan -Jennifer Rowley
Riccardo , Count of Chalais- Luciano Botelho
Enrico, Duke of Chevreuse –Scott Bearden
Armando di Gondi Courtier-Vanessa Cariddi
The Viscount of Suze- Adam Walton de Fiesque
Courtier- Jorell Williams Aubry
Secretary of Chalais - Neil Darling
A Servant of Chevreuse- Matthew Auchel

Donizetti's Maria Di Rohan was either his second to last (William Ashbrook, Donizetti and His Operas pp. 575-576) or his third to last (Charles Osborne, The Bel Canto Operas p. 368) complete opera . It was based on the melodrama A Duel under Cardinal Richelieu by Lockroy and Badon. It was first performed in 1843 in Vienna, then staged and partially rewritten in Paris,  edited again for a return to Vienna, and  finally produced in Naples, where again changes were made.

This Caramoor production was  basically the first Vienna version with five additions summarized in Opera Director Will Crutchfield’s excellent notes.  The most important of these concerned the character Gondi.  In Vienna,  Gondi was a secondary tenor with no arias.  In Paris, however, Donizetti accommodated the mezzo-soprano Marietta Brambilla and rewrote Gondi’s part to include two major arias—one of which was heard last night.

Crutchfield’s version was a fast moving dramatically taut production, but  bel canto buffs like myself  were a bit disappointed to find that several more traditional selections added for the Parisian audiences were omitted.  These included the breathtaking cabaletta” Quale improvvisa calma… Benigno il ciel arridere “that follows Maria’s prayer in Act III.

The omitted Paris and Naples pieces actually were heard at Caramoor during a delightful afternoon recital hosted by Philip Gossett in the 90 degree heat.  But, even then there was disappointment.   Jennifer Rowley was scheduled to perform Maria’s prayer cabaletta, but she  withdrew in order to substitute for the indisposed Takesha Meshé Kizart that evening.  Gossett sought a substitute for Jennifer, but no one responded.

The plot of Maria Di Rohan  is both simple (the classic love triangle) and complicated.  Chalais loves Maria, who has been forced to secretly marry Chevreuse.  Chevreuse is in deep trouble, because he has killed a nephew of Richelieu. Maria seeks Chalais’ help. Chalais offers it, hoping that Maria will join him, obviously not knowing that she is already married to Chevreuse.  Chalais succeeds and Chevreuse is pardoned.

Gondi appears on the scene and insults Maria. Chalais challenges him to a duel, and Chevreuse offers to be the second.  Richelieu is suddenly ousted from the court, and Chalais is offered his post.  Everything looks great for him, but Maria is terribly worried.  Richelieu’s demise means that Chevreuse can disclose his marriage without fear.  When he points to Maria, Chalais’ world begins to collapse.

Chalais writes a love letter to Maria and encloses her portrait. Both are hidden in his desk,  to be given to Maria should he perish.  He’s suddenly visited by Maria  who tells him that Richelieu has regained power.  She tells  Chalais to flee or he will be executed.  Chevreuse is heard approaching and Maria hides in an adjoining chamber.   Chevreuse tells Chalais that they must leave for the Gondi duel and Chalais says he will follow.

Of course he doesn’t follow, but stays to profess his love for Maria and she also admits that she has always and continues to love him.  When he finally leaves for the duel, it is too late. Chevreuse has taken his place and is wounded.

The scene shifts  to Chevreuse’s  residence.  He tells Maria and Chalais that he will arrange to have Chalais escape from the city.    Chalais leaves, and again, everything looks  good at first, but disaster strikes.  Chalais’ letter and Maria’s portrait are discovered by one of the courtiers in Chalais’ desk.  Chalais tells Maria about the letters and she says all is lost.  Once again she tells him to flee through a secret passage, and he does,  but tells her he will return if she does not follow him within an hour.  Maria  sings her beautiful prayer “Havvi un Dio che in sua clemenza” .

The courtier gives the letter and portrait to Chevreuse and he  is alternatively nostalgic and enraged.  He confronts Maria and  vows revenge. Suddenly  Chalais returns for Maria through the secret passage.  In a final trio Maria pleads for Chevreuse to kill her, Chalais says he doesn’t fear death, and Chevreuse thunders that Chalais’ death is imminent.  He gives Chalais a dueling pistol and the two race out.  A shot is heard.  Chevreuse  is furious because Chalais has committed suicide.  He throws the letter and portrait to the floor before Maria and cries out La vita coll’infamia  A te, donna infidel” - “ Life with infamy to you, faithless woman. “ and the curtain falls.  Donizetti wrote a culminating cabaletta for Maria, but crossed it out, preferring to end the opera in a distinctly non-bel canto, but highly dramatic manner.

In this reviewer’s opinion, the two critical roles  in Maria Di Rohan are the soprano Maria and the baritone Chevreuse. The work’s premiere featured soprano Eugenia Tadolini , who had recently appeared in Donizetti’s very popular Linda Di Chamonix (1842) and would ultimately take the role of Paulina in the delayed staging of Poliuto in 1848.  Giorgio Ronconi (Chevreuse) was a formidable baritone who could both sing and act.  Donizetti used him in many of his operas including Il Furioso all’isola  di San Domingo (1833), Torquato Tasso (1833), Pia de’ Tolomei(1837), Maria Di Rudenz (1838), and Maria Padilla (1841). The tenor, Carlo Guasco, had not previously sung in Donizetti’s operas.

Those who read my review of Norma last week will recall that the audience sat in the oppressive heat wondering if Angela Meade could triumph in her second performance (her first had been a week earlier).  And indeed she did.

Last night the audience again braved the heat to  hear the substitute Jennifer Rowley sing Maria for the first time. And she also triumphed.  When she first made her appearance with the  words “Stringe l’ora: M’udite “ it was clear that this was going to be an exciting evening. She shortly followed with the beautiful “Cupa fatal mestizia” and there was no turning back.  She exhibited both power and tenderness.  Her high notes were clear and confident.  Her cabaletta “Ben fu il giorno avventurato“ was particularly exciting  as was her Act III prayer (without the cabaletta).. Not surprisingly the crowd cheered her on throughout the evening, culminating  in ecstatic applause.

Scott Bearden  handled the role of Chevreuse with power and authority. His dark  Act I aria “Gemea di tetro carcere” served notice that he would sing in the tradition of Ronconi.  He dominated Act III-- first with the poignant “Bella e di sol vestita” as he read Chalais’ love letter and gazed at Maria’s portrait.  This was followed by the more ominous “Voce fatal di morte” culminating in the violent cabaletta “Si, ma fra poco di sangue un rio “as he vowed to kill Chalais. He next confronted Maria with  the cynical” So per prova il tuo bel core” - “I know your spotless heart”.  Here I think he could have been a bit more sinister.  His acting was as impressive as his singing and demonstrated that even within the confines of  semi-staged concert opera a melodrama such as Maria Di Rohan could indeed be truly dramatic.

Chalais was sung by the  Brazilian tenor Luciano Botelho.  He displayed a beautiful lyrical tenor voice, but most of the time had significantly less power than Rowley and Bearden. He seemed to weaken as the opera progressed, perhaps because of the heat. On the other hand, he was quite effective in the tender love duets with Maria. Vanessa Cariddi sang Gondi with vigor and competence..  She demonstrated some highly embellished bel canto singing in her one aria “ I miei sospiri”. The other members of the cast and the small male and female choruses contributed effectively to the performance.

Thrilling concert opera requires a strong orchestra.  I was amazed how well they performed, especially in the dreadful heat.  Memorable moments included a horn prelude at the beginning of Act III,  and a poignant English horn solo  before Maria’s prayer.


Caramoor International Music Festivals have been presented for 65 seasons in the stunningly beautiful Caramoor estate in New York’s Westchester County and bel canto at Caramoor dates back to 1992.   Surely the productions of 2010 will rank with some of the best offered. Certainly the temperatures will have been some of the highest.

 

Lewis M Schneider