Gioachino ROSSINI (1792-1868)
Sigismondo – dramma per musica in two acts (1814)
Aldimira – Hera Hyesang Park (soprano)
Sigismondo – Marianna Pizzolato (mezzo)
Ladislao – Keneth Tarver (tenor)
Zenovito – Guido Loconsolo (bass)
Annagilda – Rachel Kelly (mezzo)
Radoski – Gavan Ring (tenor)
Ulderico – Il Hong (bass)
Olga Watts (pianoforte)
Bavarian Radio Chorus and Munich Radio Orchestra / Keri-Lynn Wilson
rec. live 12-14 October 2018, Prinzregententheater, Munich, Germany
Sung in Italian
BR KLASSIK CD 900327 [81:17 + 65:14]
Rossini’s 14th opera, Sigismondo, is one of the least performed of all his works. Coming just after the composition of Il Turco in Italia, it recycles some of the music familiar from that opera. There have been a couple of previous recordings of this opera over the years but this was my first encounter with it. The story concerns confused goings-on in 16th century Poland. The libretto is certainly its weakest point. In this opera Rossini seems to have been experimenting with some unusual instrumental textures. A prime example is a lovely introduction to the heroine’s first aria (CD 1, track 6), which uses a wonderful combination of 2 piccolos with an English horn that has a unique and fresh sound to it.
From the evidence on this live recording, Munich’s concert performance was a very happy experience for all concerned. Things begin with a truly sprightly rendition of the overture by the Bavarian Radio Orchestra under the impressive guidance of conductor Keri-Lynn Wilson. Textures are never cloudy despite the rich and luxurious sound of the orchestra. The sound never seems thick or unwieldy and at times it feels as if they are all channeling a period instrument group. I find this is a rather impressive achievement. Ms Wilson and her musicians keep going from strength to strength throughout the entire performance culminating in a truly impressive Act 2 quartet (CD 2, track 13). The Bavarian Radio Chorus also display themselves to their best although their opportunities here are rather limited. Olga Watts provides a positive recitative accompaniment on the pianoforte.
Among the soloists we have the incredibly reliable Kenneth Tarver as the villain of the opera Ladislao. He has sung this role previously on a 2016 recording from Bad Wilbad, which is available on Naxos 8.660403-04 (review). On this occasion, his singing is perfectly judged in both beauty of tone and urgency of manner. His second aria (CD 1, track 10) has an astounding feeling of growing tension and is a tribute to his professionalism. His singing is a true pleasure throughout.
In the title role Marianna Pizzolato demonstrates the finest work I have yet heard from her. Her voice is rich sounding and solid throughout its range. There is a wonderful touch of resin to her tone, which is most appealing. Sigismondo’s arias demand less in the way of vocal fireworks but rather call for sensitive and intelligent phrasing, and she supplies this in spades.
The heroine Aldimira is superbly portrayed by Hera Hyesang Park, a young singer whose name was new to me. Her beautifully judged, limpid singing is a pleasure to encounter, notwithstanding a couple of awkwardly approached high notes. Her voice is also a perfect complement to Ms Pizzolato’s in the duets Rossini allotted to them. These are amongst the finest moments in the opera. Bass Guido Loconsolo as Zenovito reveals an attractive sounding voice that has a tendency to spread a little when he sings above B natural.
The sound engineers have caught this live occasion with great immediacy and clarity. They have even preserved some of the natural ambience encountered in the Prinzregententheater. One can hear it clearly without it ever being obtrusive. It is all extremely accomplished to my ears. The CD booklet gives notes in both German and English but there is no libretto supplied.
This release is certainly the most enjoyable new opera recording that I have encountered in some time. It is a splendid souvenir of a memorable musical event, and one that you should strongly consider purchasing.
Mike Parr
