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Thrilling Maometto II From Garsington

Robert Levine

Artistic Quality:

Sound Quality:

When this opera premiered in Naples in 1820 it was a flop. Rossini had been experimenting with structure for years in Naples–attempting to get away from the recit-aria-cabaletta (and repeat) form that was presumed in Italian opera–but apparently had strayed so far that audiences rebelled and stayed away in droves. He simplified the work for Venice in 1822, but it did not find resounding success until 1826, when, rewritten for Paris, it was presented as Le Siège de Corinthe.

Indeed, Maometto II is composed in grand-span arcs and lengthy conversations. Act 1 contains a 23-minute trio for soprano, tenor, and mezzo that goes through eight tempo changes, and at one point the mezzo and tenor leave and the soprano is joined by a chorus of women. The hero, Maometto, does not appear until 45 minutes into the 85-minute first act, and rather than having the soprano end the opera in a “normal” 10-minute aria-and-cabaletta fashion, here our heroine sings for 20 minutes and the action continues through to the last pages: the Venetians defeat the Turks (off stage, but audible and a great part of the action), and our heroine reveals to Maometto that she is married to someone else and commits suicide. It is very grand opera (and two hours and 47 minutes in this performance), and it leaves little time for breathing space or applause after set pieces.

Strangely, the 1983 recording of this opera (Samuel Ramey, June Anderson, conducted by Claudio Scimone), which is better sung by more impressive voices, makes less of an effect than this new, live performance from Garsington Opera in England. The commitment of the singers and the never-stop pacing of David Parry make this “live” recording vibrant and urgent, whereas the Scimone is just one hunk of gorgeous sound after the next (hardly to be sneezed at, but you get my drift).

At Garsington, the cast has all the notes and features a wonderful tenor, Paul Nilon, as Erisso, the Venetian Governor of Negroponte who is besieged by Mehmet and the Muslims, and a lovely soprano, Sian Davies, as his daughter, Anna, who before the opera begins had met Mehmet in Corinth and fallen for him, where he introduced himself as Uberto. Calbo, a Venetian General (and trouser part, sung by a mezzo–an old-fashioned holdover), is in love with Anna and has Erisso’s blessing (and Anna wishes to do the right thing); she eventually marries him (hence pissing off Mehmet in the opera’s closing minutes), and of course, Mehmet (Maometto) is a bass. These last two are the weak links, vocally, though not enough to spoil the performance.

Darren Jeffrey, in the title role, is gruff and inelegant with coloratura (and an awful comparison with the amazing Ramey), but his line delivery is right on and he has great presence. Caitlin Hulcup, the Calbo, starts off poorly and is hardly a coloratura mezzo of the caliber of Horne or Verrett (in the “Siège” recording), but she is quite good in ensembles–the voice has a fine quality–and she gets through her big scena without hurting herself. And as mentioned, the American soprano Sian Davies is a wonderful find, with forthright delivery and fine coloratura, in a role that climbs as the opera goes on. The chorus and orchestra are excellent, and Parry is spectacular: the handsome ensemble that ends the first act is so clear and rhythmically right that every word can be heard. Being a stickler for spotless florid music, I surprised myself by loving this performance; I presume other listeners will as well.


Recording Details:

Reference Recording: Scimone (Philips); This one

  • Record Label: Avie - 2312
  • Medium: CD

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