Some might refer to these works as “minor” Rossini. On the contrary, if Orfeo (arguably) is juvenilia, it is fascinating and lovely juvenilia, and Le nozze di Teti, composed (in 1815) between Il barbiere di Siviglia and Otello and La Cenerentola, hardly can be seen as “minor” anything. Rossini may have been fleet and easy-to-take, but he was never shallow, and there are gems here that are easy to locate. Orfeo is a 20-minute cantata composed of an overture, a chorus, an aria, and a busy aria with chorus. The writing, for the character Harmony, is as graceful and charming as his name might conjure, and tenor Paul Austin Kelly sings the music handsomely.
Le nozze di Teti, the larger work, is more complicated. It’s in 18 short sections, including a prelude, recitatives, chorus with solos, choruses, a duet, and an aria or two. Isabella Colbran and Giovanni David were among the original soloists. Here, Colbran’s part is taken by Cecilia Bartoli, who sings a big aria, much of which is a reworking of Almaviva’s (often cut) last-act aria from Barber (the same aria that was reworked again after this cantata’s premiere for Cenerentola’s finale!). As usual, Bartoli is amazing, singing with fluency, energy, and few of the mannerisms that occasionally creep into her work. Juan Diego Florez is another of the new Rossini tenors, and he exhibits agility, intelligence, and a real sense of the bel canto line. Elisabetta Scano’s voice may not be in the same class as Bartoli and Florez, but she’s a delight as well. The others in the cast, along with the attendant chorus and orchestra, are splendid under Chailly’s loving, understanding direction. Sound is superb. Run to this “minor” (as compared with what?) Rossini. [12/25/2001]
