Donizetti’s opera Marino Faliero is an engaging work from the
composer’s maturity. Premiered in 1835, around the time of Bellini’s
I Puritani, it shares with the latter stylistic elements that
connect both to grand opera. With its libretto based on a popular
event in Italian history, the tragic fall of a fourteenth-century
doge, Marino Faliero also reflects narrative details popular
in nineteenth-century opera, including an illicit love affair,
political unrest and conspiracy, a scheming nephew, intrigues
at a masked ball, passionate hatred and equally intense forgiveness.
It is no wonder that this historic tale inspired Lord Byron’s
verse drama. At the same time, the strong emotions that can
be inferred in that drama find expression in Donizetti’s effective
score. While this opera may no longer hold the stage, it was
indeed popular from its premiere through the mid-nineteenth
century, and while it is difficult to explain the absence of
Marino Faliero in modern repertoire, the vocal writing certainly
makes intensive demands on the cast.
Marino Faliero is the story of a Venetian doge who ultimately
opposes the group of patricians who control Venice. At the same
time that Faliero joins a conspiracy, his personal life is compromised
through a covert affair between his wife and nephew. Faliero’s
response to challenges of his wife’s infidelity accentuate the
problems with the outspoken Steno, and midway the nephew Fernando
is found murdered. Shortly after, Faliero himself is denounced
and imprisoned. After being sentenced to death, Faliero learns
of his wife Elena’s affair, to which he responds by denouncing
her. Yet prior to his execution, Faliero forgives his wife,
and the opera concludes with Elena’s grief at her husband’s
death.
Like some of Donizetti’s historic operas, Marino Faliero is
structured to emphasize the role of the title character. Some
critics would hold that the role of Elena is not written strongly
enough to balance him. This is a natural outgrowth of the libretto,
which allows the bass playing Faliero to have the same musical
command of the work, as the soprano playing Queen Elisabeth
in Donizetti’s three operas about that character. At the same
time, other male characters benefit from the weight of the music
given them. For example Fernando, whose tenor arias stand out
for the finesse required which the legendary Giovanni Rubini
created for the premiere of this opera. That kind of writing
supports the vocal demands of this tragedia lyrica.
That stated, some of the music sounds more dramatic than some
of the composer’s earlier scores, and various scenes reflect
the kind of dramaturgy that Verdi would pursue a decade later.
The opening scene is a case in point, in which the head of the
Venetian Arsenal, Israele (baritone) sets the stage by recounting
the victories of Faliero just as the patrician Steno (bass)
harasses the sailors who work for Israele. Israele, sung here
by Luca Grassi, is a strong character, whose response to the
situation anticipates his later invitation to Faliero to join
the conspiracy.
Likewise, the second scene contains elements that are essential
to opera, an encounter between Elena and Fernando, with the
obligatory exchange of a memento (here Elena’s veil), just before
Faliero enters. There’s also the dissembling Fernando responding
to his uncle with concerns about the public accusations of Elena’s
infidelity. The incongruity of the scene in the context of real
life evaporates in the milieu of opera. The situation contains
two duets between Elena and Fernando, followed by the scene
with Faliero. Here Ivan Magri gives laudable effort in a role
that demands much. In this production the orchestra sometimes
seems to compete with Magri, yet his first-act aria “Di mia
patria o bel soggiorno” stands out.
As to the production itself, the sets give a sense of the period,
an element important to the plot. The rich colors and dark combinations
fit the story well, with the lighting serving the characters
well. The realistic elements of the sets are useful props for
the singers, and are visually engaging by fitting well into
the text. This dark work comes to life in this production, which
benefits from the choice of presenting Marino Faliero as a costume
drama in rich detail.
Credit is due to the entire cast for its valiant efforts with
this challenging score. Giorgio Surian is convincing in the
title role, with Rachele Stanisci presenting a strong vocal
and dramatic creation of Elena, the erring, but contrite spouse.
Ivan Magri assumes the Fernando role with flare. His extroverted
vocalism is part of nature of the music given his character.
Luca Grassi’s secondary role of Israele is well sung, and serves
as a strong connection between the conspirators and Faliero,
the crucial element in this tragic opera.
The orchestra and chorus of the Bergamo Music Festival offer
fine support. Conductor Cinquegrani demonstrates his command
not only with solid tempos and clear direction, but also with
the timing between numbers. His pacing contributes to the overall
effect. Likewise, the stage direction by Marco Spada serves
us well in allowing the performers to interact eloquently in
this staging.
Since this work is performed rarely, it is useful to have a
reliable video available between those infrequent productions
of this otherwise strong score. The sound is full and reliable
throughout, with the navigation keyed well to the individual
numbers. Recorded at live performances, this recent release
makes a strong production of Marino Faliero readily available.
A wide audience can now hear and view Donizetti’s fine score
and, through it, can have a broader frame of reference for the
composer’s other works, including Lucia di Lammermoor, which
followed soon after.
James Zychowicz
see also review by Robert
McKechnie
Giorgio Surian - Marino Faliero; Rachele Stanisci - Elena; Ivan
Magri - Fernando; Lucia Grassi - Israele Bertucci) Luca Dall’Amico
- Steno; Domenico Menini - Un gondolier e Strozzi; Paola Spissu
- Irene) Alexander Stefanosky - Vicenzo; Giuseppe Di Paola - Beltrame;
Enrico Marchesini - Pietro 
2.110616-17 [73:27 + 78:47] 
