After the modest success
of the revised Le villi, his
first opera, Puccini’s publisher, Giulio
Ricordi, agreed to advance him a modest
monthly stipend in order that he could
clear his debts and devote himself to
writing another opera. For the libretto
Puccini turned again to Ferdinando Fontana
who had not only provided the book for
Le villi but had raised a subscription
for its first staging. Never the most
prolific or speedy composer, Puccini
took more than three years to complete
Edgar. To some extent, the difficulty
was caused by the Fontana’s libretto.
Based upon La Coupe et les lèvres,
a play in verse by Alfred de Musset,
the libretto, originally in four acts,
was even less felicitous than that produced
for Le villi. During this time,
Puccini lived on his royalties from
Le villi and also on the Ricordi
stipend for which he had to ask for
an extension of time. When it came to
Manon Lescaut, his third opera
and first great success, Puccini was
far less accommodating to his librettists
as I outline in my review of the recently
issued Naxos performance of the 1954
recording featuring Licia Albanese and
Jussi Björling (review).
When Puccini’s brother Michele, after
an unsuccessful attempt to set up as
music teacher, emigrated to South America,
the composer was forced to send him
money, which he could ill afford. The
more he realized how important it was
that he should finish Edgar quickly,
the less easily did the music flow.
The premiere of Edgar
was eventually scheduled to take place
at La Scala on Easter Sunday, 21 April
1889 nearly five years after the premiere
of Le villi. Puccini had hoped
that Francesco Tamagno who, in 1887
had been Verdi's first Otello, would
sing the title role and as late a date
as two months before the premiere he
was still attempting to secure the famous
tenor. In the event Tamagno went off
to lucrative engagements in America,
and Puccini had to rest content with
a Romanian tenor, Gregorio Gabrielesco.
The conductor of the premiere was Franco
Faccio who had launched Verdi's Otello
to success in 1887, but was unable
to do the same for Puccini's Edgar.
The opera was politely received on its
first night, but only two further performances
were given. Critical opinion of Edgar
was in general unfavourable. Despite
the response Ricordi issued a statement
immediately after the premiere suggesting
that the composer should not feel discouraged.
Six days later Ricordi called a meeting
with Puccini and Fontana to discuss
what might be done with Edgar.
At age 31 Puccini’s
career hung in the balance. Despite
Ricordi’s wish that the composer move
on, Puccini made further changes in
Edgar for a production in 1890.
The intended production was aborted
when the tenor became ill. When eventually
staged this four-act revision was a
success and stimulated Puccini to further
revisions reducing the number of acts
to three. This three-act version was
premiered in Ferrara on 28 February
1892 and for its first performance outside
Italy, at the Teatro Real, Madrid, the
great tenor Tamagno at last sang Edgar.
Still not satisfied Puccini made further
alterations in 1901 and 1905, the year
after the premiere of Madama Butterfly
when Giovanni Zenatello sang the
title role. Thereafter Puccini abandoned
the opera as did the world’s opera houses
and it was never performed again in
his lifetime. The first British performance
was in a semi-professional production
in 1967.
The plot concerns the
vacillations Edgar has between his love
of Fidelia and his passion for Tigrana.
He yields to the latter, but tiring
of it returns to Fidelia who is stabbed
by the jealous Tigrana. The reduction
to three acts savaged the role of Tigrana,
reducing it to little more than a comprimario
part, although that is not to understate
the role’s importance in duets and ensembles.
In this three-act version Tigrana has
a higher tessitura than when Puccini
first conceived the role and although
it continues to be designated for mezzo-soprano
it can be sung with comfort by a dramatic
soprano. On this recording it is sung
by the warm toned mezzo Marianne Cornetti
who sings characterfully if not always
ideally steadily with moments of intrusive
vibrato (CD 1 trs. 4-5). She makes what
she can of her abbreviated Dal labbro
mio as Tigrana exerts all her
powers of seduction (CD 1 tr. 15). Cornetti’s
voice is easily distinguishable from
the lighter-toned Adriana Damato as
Fidelia (CD 1 tr. 2) whose lyric soprano
has sufficient heft for Adio mia
dolce (CD 2 tr.4) and the drama
of the final act where she colours her
tone well and has the ability to sing
softly. As Frank, Juan Pons is more
stolid than imaginative.
At the end of the day
if it were not for the interest of the
eponymous tenor part the opera would
still be languishing in some dusty archive.
When Tamagno eventually got round to
satisfying Puccini and sang the role
in Spain, four numbers were encored
and Queen Maria Christina invited the
composer to her box to offer her congratulations.
Doubtless it was Domingo’s wish, and
Deutsche Grammophon’s willingness,
to record the role that brings this
new recording. It is a matter of some
amazement that the distinguished tenor,
now well into his sixties and with many
Wagnerian roles to his credit as well
as innumerable Otellos, can lighten
his tone in the distinctive manner he
does. Needless to say he has plenty
of heft and variety of vocal colour
to meet all the role’s demands. Inevitably
there is some downside in that when
the tessitura rises he tends to squeeze
the vocal emission more than in his
earlier years when that part of his
singing would have been more open-throated.
Domingo enthusiasts need not hesitate.
The great tenor’s performance here adds
to his unequalled list of operatic recordings.
The recording is clear
and well balanced with a touch of bloom
around the voices. Alberto Veronesi
on the podium nurses the music through
its thinner parts and doesn’t overdo
the drama. Puccini’s use of motif is
easily picked out in an interpretation
that is appropriately delicate in the
orchestral prelude to act three. There
is an interesting booklet essay and
synopsis in English, German and French
and full libretto with translations
in the same languages. It would have
been helpful if the synopsis had been
track-related. This recording and performance
comfortably supersedes the Sony issue
made from live concert performances
in New York under Eve Queler with Renata
Scotto and Carlo Bergonzi.
Puccini completists
and Domingo fans need not hesitate.
Robert J Farr
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Chorus and Orchestra of Academia Nazionale di
Santa Cecilia/Alberto Veronesi 
