I guess there’s no way around this. Given Donizetti’s 70 operas, we must expect an occasional recording of an unimportant one. Running 90 minutes (with no score available and no other recordings there’s no way of knowing about cuts), there are 25 minutes of dialog (not recitative, but spoken dialog), some nice duets, an ensemble or two, and a fun “vaudeville” finale. There’s nothing to object to–in fact, there’s lots of charm–but Donizetti’s usual way with melody seems to be dormant and much of the music (and the situation) tends to go in one ear and come out the other.
The plot concerns a Count whose daughter, Antonina, is a novelist (Romanziera) whose latest tome involves a Black Man who is the picture of mystery and Romanticism. At one point a character falls into a coal-cellar and emerges black–this scares Antonina, and to make a dumb story short, by the opera’s end she agrees to marry a nice bank clerk and “return to operas and parties and competing with other belles.” There are other intrigues, but never mind. That having been said, this is enjoyable, and the performance is quite good.
There are no major singing discoveries among the unknown cast, but all acquit themselves nicely and there’s very little “buffo” hamming–quite a feat, considering that two of the characters are either hairdressers or disguised as hairdressers (or both). Bongiovanni supplies serviceable notes and a full Italian-English libretto–gratefully. Sound, orchestra, chorus, and leadership are very good. Do I recommend this? Why not? It won’t hurt your collection, and every few years you can put it on and realize how great Anna Bolena, L’Elisir d’Amore, and a few others really are.
