Gioacchino ROSSINI (1792-1868)
La gazza ladra - melodramma in two acts
(1817)
Sophie Bevan (soprano) – Ninetta; Jonathan Lemalu (bass-baritone) –
Fernando Villabella; Federico Sacchi (bass) – Fabrizio Vingradito; Katarina
Leoson (contralto) – Lucia; Francisco Brito (tenor) – Giannetto; Kihwan Sim
(bass) – Gottardo; Nicky Spence (tenor) – Isacco; Alexandra Kadurina (mezzo)
– Pippo; Michael McCown (tenor) – Antonio; Iurii Samoilov (baritone) –
Giorgio; Carlos Krause (bass) – District Court Judge; Thomas Charrois
(tenor) – Ernesto;
Chor der Oper Frankfurt, Frankfurter Opern- und Museumsorchester/Henrik
Nánási
rec. live, April 2014, Oper Frankfurt
Synopsis in German and English enclosed
OEHMS CLASSICS OC961 [3 CDs: 71:39 + 56:45 + 46:26]
A couple of years ago I reviewed a live recording from Pesaro 2007 on the Dynamic
label. While I had only good things to say about the sound and the
conducting – and about the music, which to great extent is from Rossini’s
top-drawer – I had qualms about much of the singing. I came down with a
clear preference for the 1989 Sony set under Gelmetti, also from Pesaro.
The present set from Frankfurt 2014 is clearly competitive on sonic
grounds. Oehms Classics consistently deliver excellent recordings and I need
only refer to the opening drum-roll of the overture, so frighteningly
realistic. Listening on headphones I crouched and thought an accident was
imminent — I was on a train running at 100 mph. The orchestral tutti that
followed was almost ear-shattering and I must say that rarely have I heard
it played with such gusto. Nánási is on his toes also during the rest of the
opera and with the excellent Frankfurt Opera Chorus in fine fettle this
recording is in those respects on the same level as the Sony and the
Dynamic. This implies that the deciding factor for a purchase is the solo
singing.
The Dynamic set had several good actors, expressive but vocally less
attractive. This is also the case here. In the lowest department Jonathan
Lemalu, the New Zealand-born Samoan, is without doubt the most illustrious
name in the cast-list, but his once dark, sonorous voice has frayed
considerably. I noted this as long ago as when I reviewed Harnoncourt´s Porgy and Bess and
he hasn’t recovered. He is expressive, the music is full of vitality, he
knows that but he no longer has the vocal means to carry this over to the
listener. It is sad, since he is not yet 40. The Korean Kihwan Sim, in the
role of the Mayor, is another highly accomplished actor but vocally dull. As
on the Dynamic recording Giannetto is one of the most successful singers.
Francisco Brito has a light lyrical voice and he negotiates the high
tessitura admirably. The other tenor, Isacco, sung by Nicky Spence, is also
good. He can be heard to good advantage in the act I finale.
Swedish contralto Katarina Leoson is an excellent Lucia and the best of
her is without doubt her aria in act III A questo seno. Alexandra
Kadurina sings Pippo and his Brindisi in the first act is a fine
calling-card. In the Dynamic recording Ninetta was sung by Mariola Cantarero
and she was very good but her insistent vibrato marred an otherwise fine
reading. Sophie Bevan amply demonstrates that she is in an altogether higher
division, not least in the first act cavatina Di piacer mi balza il
cor. She is technically accomplished, her coloratura is fluent and she
has effortless high notes. She certainly challenges also Katia Ricciarelli
on the Sony set.
My final verdict: The Frankfurt set has several good singers who more or
less out-sing their competitors on the Dynamic recording. The choice between
these two recordings is fairly easy and the Sony seems to have been deleted,
but if you can find it, it is still a first choice. There is however a new
Naxos recording in the pipeline, conducted by Rossini specialist Alberto
Zedda and with expert singers like Kenneth Tarver, Bruno Praticň and Lorenzo
Regazzo in the cast. If your need for a new Thieving Magpie isn’t
too pressing I would advise prospective buyers to wait and see.
Göran Forsling
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