Vittorio Grigolo purposely waited to record his first operatic solo album until he had something unique to communicate in the repertoire and has chosen arias representing the culture I come from. THE ITALIAN TENOR presents music from three giants of the lyric stage Gaetano Donizetti, Giuseppe Verdi and Giacomo Puccini and combines famous arias with lesser-known discoveries. The album was recorded in the Teatro, Regio di Parma with the resident orchestra and conductor Pier Giorgio Morandi.Donizetti's Una furtiva lagrima (L'Elisir d'Amore) has been a litmus test of the Italian tenor since the days of Enrico Caruso, whose famous performance of the aria paved the way for the opera's return to the repertoire after years of neglect. Equally beautiful is Spirto gentil (La Favorita) in which the lead character laments the loss of his love forever.
From Dynamic comes the riveting opera performance of Olivo e Pasquale, a fan favorite that has delighted audiences for years. Known also as Melodramma giocoso, or romantic comedy opera about the title character brothers and their conflicting lives with those around them, this is the 1827 Neapolitan version with slight revisions and recorded for the first time at the 2016 Donizetti Festival of Bergamo.
One of the composer's most beguiling scores, La Favorite is Donizetti's La favorita in its original French form - a tale of love and war that represents a glorious mix of Italian bel canto and 19th century grand opera.
Roberto Devereux stands as one of Donizetti's greatest achievements in dramatic opera, the other two being Lucrezia Borgia and Lucia di Lammermoor (in my realm of judgment). Like most lovers of bel canto and Donizetti, I'm led into this foray of musical richness through Lucia; which though a great opera, has been largely overperformed at the expense of his greater operas like Devereux and Borgia. Not venturing to extoll the relative merits of the operas mentioned here, I shall focus my review on this recording of Donizetti's seminal opera.
On New Year’s Eve 2012 Joyce DiDonato became the first singer to take the title role in Donizetti’s Maria Stuarda at New York’s Metropolitan Opera. With her at its heart, the production became, in the words of Opera magazine, “a high point of the season and of the company’s performance history of bel canto operas”.
This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. (Joe McLellan)
“Sutherland is in her element here - and what a wonderful score it is too…Horne has the odd moment of unsteadiness in the early parts of the opera, but she is impressive in the brilliant Brindisi of the last Act” (The Penguin Guide)