Giuseppe VERDI (1813-1901)
I Due Foscari - Tragedia lirica in three acts (1844)
[98:25]
Francesco Foscari - Gian Giacomo Guelfi (baritone); Jacopo Foscari - Carlo
Bergonzi (tenor); Lucrezia Contarini - Maria Vitale (soprano); Jacopo Loredano
- Pasquale Lombardo (bass); Barbarigo - Mario Bersieri (tenor); Pisana - Liliana
Pellegrino (soprano); Un Fante - Aldo Bertocci (tenor); Un Servo - Gianni
Barberi (bass)
Chorus and Orchestra of RAI Milan/Carlo Maria Giulini
rec. Milan, 1951
no text or translation included
WARNER MUSIC 2564 66143-4 [70:02+28:23]
I suspect that even devotees of Byron do not spend much time with his play
“The Two Foscari”. Nonetheless it did appeal to Verdi who described
its subject as delicate and full of pathos. Even then, however, he was concerned
about the lack of real drama. He was right to be. Although the resulting opera
has many powerful scenes, especially the last, and the contradictory Venetian
atmosphere of sunshine and pleasure opposed by intrigue and repression is
beautifully evoked the result is not wholly satisfactory as a whole in the
theatre or on disc. It is however brief and well worth an occasional hearing,
and any Verdi enthusiast will want a version in their collection.
Whether they will want this one is less certain. It was one of the series
of operas recorded by Italian Radio to mark the fiftieth anniversary of the
composer’s death. At the time there were no other commercial recordings
of I Due Foscari. Heard today, however, it has little to commend it.
Its main attraction is the performance of Gian Giacomo Guelfi as the elder
Foscari. Other recordings suggest that he was a powerful but somewhat coarse
singer, but here he reveals his artistry as well as his power, especially
in the final scene where the Doge learns that his son has died, is forced
to abdicate and finally dies himself. I had expected much from the young Carlo
Bergonzi as the younger Foscari but, although he is essentially a character
who suffers throughout the opera, he is portrayed in altogether too lachrymose
and monotonous a fashion. In fairness I should point out that Bergonzi had
only recently started to sing as a tenor having previously performed as a
baritone. Maria Vitale is adequate as are the minor parts. Again I had expected
much of Giulini, at that time a staff conductor with the RAI, but the very
dim recording makes it hard to appreciate the contribution of the orchestra
or chorus. Tempi certainly seem to be well chosen but it is hard to
comment further.
The main rival on disc is the Philips recording conducted by Lamberto Gardelli,
with Cappuccilli, Carreras and Ricciarelli in the cast. I do not have its
latest reissue, but earlier issues of it are so obviously superior as to make
the present Warner issue of little more than limited historical interest.
John Sheppard
Little more than limited historical interest.