This is only the third commercial recording of Bellini’s third opera. Montserrat Caballé recorded it for EMI in 1970 (a “private” recording from ’67 with Caballé is also to be found occasionally); and soprano Lucia Aliberti recorded it (with great mediocrity) in 1994. Callas sang it at La Scala but no complete recording exists; several versions of her performing the final scene in concert are available, and there’s a poor (much cut) performance from Carnegie Hall in 1959. None of them is first rate, making this Opera Rara studio performance all the more valuable. It’s a pity it doesn’t attain greatness.
Premiered at La Scala in 1827, Il pirata was an immediate success, and it was repeated more than a dozen times that season. The plot, taking place in Sicily in the 13th century, concerns an exiled Count Gualtiero, who has become a pirate. He returns to discover that his fiancée, Imogene, in order to save her father’s life, has married Gualtiero’s enemy, Ernesto. Both men accuse her of betrayal. Gualtiero kills Ernesto in a duel and he is arrested and sentenced to die. Imogene goes insane. End of opera. While not as well-formed as, say, Norma or I puritani, the opera contains fine arias and duets and some of those beautiful, long-lined melodies the composer later became famous for. It also has a spectacular tenor role, written for Rubini; it isn’t particularly florid, but it contains some stratospheric high notes—although you will not hear many of them on this recording.
So much work and scholarship has gone into this recording: the acres of fascinating background material; the inclusion of a re-discovered three-minute coda to the opera that Bellini (wisely) cut; the conducting of David Parry; the playing and singing of both orchestra and chorus that is both elegant and vivacious. I wish the solo singing were on the same level.
Best is Ludovic Tézier as Ernesto, whose warm, pliant baritone and attention to the text make his every appearance something to look forward to (he doesn’t show up until an hour into the work). José Bros, as suggested above, does not bother with Gualtiero’s high Ds (let alone an optional F) but sings fluently (what little coloratura the role contains, he handles very well) and stylishly and with only occasional strain. Carmen Giannattasio is a fine but complicated singer: her involvement is never in doubt and her coloratura is accurate and natural, but a wobble has developed on high, sustained notes, and—perhaps due to the studio ambience—there’s an edge to the top of her voice. But she’s full of temperament—closer to Callas than Caballé but still miles from either—and has a nice, dark hue to the lower and middle parts of her voice. The remainder of the cast is good.
I wish this had thrilled; I was certainly ready and open to something magnificent. As it turns out, I’ll stick with the Caballé on EMI despite a certain tepidity to much of the performance—and I won’t part with any of Callas’ undertakings of the final scene, each of which is a superb mini-opera unto itself despite whatever vocal condition she’s in. Good, not great.
