Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Gioachino ROSSINI (1792-1868) Torvaldo e Dorliska - Dramma semi-seria in
two acts (1815)
Torvaldo - Francesco
Meli (ten); Dorliska, Torvaldo’s wife - Darina
Takova (sop); Giorgio, custodian of the Duke of Ordow’s castle
- Bruno Pratico (bass); Duca d’Ordow - Michele Pertusi (buffo bass);
Ormondo, Captain of the Duke’s guard - Simone Alberghini (bass-bar);
Carlotta, Giorgio’s sister - Jeanette Fischer (sop)
Prague Chamber Choir
Orchestra Haydn di Bolzano e Trento/Víctor Pablo Pérez
rec. live, Teatro Rossini, Pesaro Festival, Italy, August
2006
Performed in the Critical Edition by Francesco PaoloRusso
for the Rossini Foundation in collaboration with Casa Ricordi DYNAMIC
CDS 528/1-2 [76.52 + 74.18]
I
believe the first staged production of Torvaldo e Dorliska in
the twentieth century were given at Savonna in 1989. Charles
Osborne in The Bel Canto Operas (Methuen 1994) mentions
an earlier LP version conducted by Alberto Zedda with a fine
cast including Lella Cuberli, Lucia Vallentini-Terrani, Enzo
Dara and Siegmund Nimsgern, but this seems never to have
made it onto CD. Aware of that, I recently welcomed the Naxos
recording of performances given at Bad Wildbad, known as
the Pesaro of the North in 2003. It fills an important gap
in the Rossini discography. I also gave notice that the work
was performed at the Rossini Festival at Pesaro in 2006.
The adventurous Italian company Dynamic were on hand to
record
from Pesaro and this issue is the product. Dynamic has the
habit of recording performances for later DVD issue as with Bianca
e Faliero recorded at the 2005 Pesaro Festival. Even
before I make my assessment of this recording I express the
hope that they will do likewise with this Torvaldo.
Rossini
had already agreed to compose a work to open the Carnival
Season at Rome’s Teatro Valle on 26 December 1815 as he prepared
his first opera seria for Naples, Elisabetta, Regina d’Inghilterra.
It was enthusiastically received at its premiere on 4 October
1815. On his arrival in Rome to rehearse Il Turco in Italia for
a performance a month later, he did not like the libretto
for the new work prepared for him by Angelo Anelli the librettist
of his popular L’Italiana in Algeri. Rossini turned
to a young civil servant, inexperienced as a librettist,
Cesare Sterbini. He produced a semi-seria libretto of Torvaldo that
essentially belongs in the category of a rescue opera of
which the outstanding example is Beethoven’s Fidelio.
The
opera is set in and around the castle of the Duke of Ordow
(bar). The evil Duke is in love with Dorliska (sop) the wife
of the knight Torvaldo (ten). The Duke had attacked the couple
on their wedding day with the intent of taking Dorliska for
himself. In the struggle Torvaldo was wounded and left for
dead. Dorliska having escaped arrives at the castle and seeks
shelter not knowing it is the home of the Duke. At first
she is given shelter by Giorgio, the castle guardian (bass),
and his wife Carlotta (sop) but is discovered by the Duke.
Torvaldo who has not been killed arrives at the castle in
disguise to rescue her but she inadvertently reveals his
identity and he also becomes a prisoner. Giorgio declares
that he is an honourable man and with the aid of his wife
and disaffected villagers, tired of their tyrant Duke, Torvaldo
and Dorliska are rescued.
For
Torvaldo Rossini did not try to import the musical initiatives
of his Naples opera to Rome, rather he presented a traditional
structure with the musical numbers interspersed with recitative.
Although there are self-borrowings the music has impetus
and drama with significant demands on the principals. Pesaro
has waited until the emergence of a critical edition of the
score, prepared by Francesco PaoloRusso who has replaced
Philip Gossett, before presenting the work at the Festival
for the first time. The performances from which this recording
is derived were of the only new production at the 2006 festival,
which is struggling with refurbishment of the normal venue
in the town and having to use temporary venues at a sports
stadium in the outskirts. Nor did the Festival have good
fortune when one of the two concert performances of Adelaide
di Borgogna had to be cancelled because of the illness
of Patrizia Cioffi where she was cast alongside Daniela Barcellona
as the emperor Ottone. Given these fraught circumstances
the organisers must have been mightily relieved at the reception
given to this first production of Torvaldo presented
in the town centre venue of the Teatro Rossini. Reports indicate
an imaginative production by Mario Martone with some singing
from the aisles of the theatre. Whether the challenges of
this accounts for the rather flat sound, which lacks the
presence of the parallel recording of performances of L’Italiana
in Algeri from the out of town venue I do not know, but
it is a little lacking, unlike the singing and orchestral
playing, in warmth and life.
The
coloured photograph on the inside of the booklet shows the
imposing physical stature of Michele Pertusi as the rather
nasty Duke of Ordow. His singing is equally impressive in
terms of both vocal quality and characterisation throughout
the performance. Of note is his singing in the confrontation
duet with Dorliska (CD 2 trs 9-10) when she tells him ‘you
will always be victim of my hatred’ and particularly
in the duets with Giorgio the good guy of the plot. The near
veteran Bruno Pratico sings Giorgio. His leaner bass tone
is distinct from that of Pertusi, absolutely essential in
their scenes and many patter-type vocal interactions and
where their excellent diction and articulation is vital.
Pratico is ideal in conveying the many circumstances and
dilemmas that the character Giorgio finds himself in and
consequent moods. Giorgio is scared to the core of his master
the Duke, but is relentless in his determination to help
Dorliska and later Torvaldo, eventually supporting the insurrection
against his sadistic master that frees the lovers. Bruno
Pratico’s command of this character role is consummate and
his portrayal superb in all respects. Francesco Meli sings
Torvaldo with promising lyric tones and with plenty of expression
(CD 1 trs. 11-12). In a recent profile in France’s Opéra
magazine he indicated his wish to move towards the lyric
tenor fach. In this he is probably wise, as he has not quite
got the free top of the voice that is required for the ideal
Rossini tenor. What he has is a pleasing tenor tone, sensitive
phrasing, good legato and willingness to use mezza voce,
all allied to a capacity for expression and characterisation
that combine to bring the role to life. Darina Takova as
Dorliska also exhibits some of these skills. The Bulgarian
soprano’s smooth creamy tone and ability to express Dorliska’s
emotions are a strength in this performance. Regrettably,
her lack of security in the upper reaches of the voice, with
smudged divisions and a touch of shrillness, are a drawback
from time to time (CD 1 tr.7). In the comprimario, but vital,
role of Carlotta, Jeanette Fischer’s voice is distinct from
that of Takova. She sings with lightness and flexibility
although losing clarity of diction in the flights of her
brief aria (CD 2 tr. 12). Víctor Pablo Pérez on the rostrum
draws a vibrant rendering of the overture from his orchestra
and thereafter paces the drama well. The chorus sing with
commitment.
The
accompanying booklet has an interesting, if brief, essay
on the complexities of the semi-seria genre. This like the
synopsis is given in Italian, French, German and English.
There is a full libretto with English translation. Rather
than the listing of the members of the orchestra and chorus
I would have appreciated some up to date biographical details
of the singers and conductor which Naxos do provide for their
cast.
After
so long with no available recorded version of Torvaldo
e Dorliska, to have choice is a luxury and a challenge.
Both this and the Naxos are taken from live performances
which inevitably means the intrusion of applause. In both
cases this is not too obtrusive and is not a serious drawback
to the enjoyment of discovering this Rossini opera which
was followed two months later by his most popular work, Il
Barbiere di Siviglia, with the same librettist as for Torvaldo.
This Dynamic recording has a far more experienced cast than
that from Bad Wildbad on Naxos and is issued with a complete
libretto. But of course those come at a financial cost with
this performance being at full price compared with Naxos’s
bargain price. Rossini lovers with only audio replay facilities
or preferences will want this recording. Others who have
already purchased the Naxos issue might want to wait and
see if a video was made at Pesaro before investing.
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.