Don’t worry, Rossini hasn’t been composing operas while nobody’s looking. This work, premiered in Paris in September, 1826, is a pastiche, pieces of some of Rossini’s other operas–La Cenerentola, La gazza ladra, Tancredi, Semiramide, Mose in Egitto, Bianca e Faliero, Armida, Aureliano in Palmira, Maometto II, Torvaldo e Dorliska, and Sigismondo–put together with Rossini’s permission by Antonio Pacini, the composer’s French publisher. It satisfied the Rossini-hungry Parisian audience until the composer could finish his reworking/Frenchifying of 1820’s Maometto II, which was presented as La siege de Corinth the following month, and Moise et Pharaon, a reworking/Frenchifying of Mose in Egitto (1818) that showed up in March of the following year. It was a great success.
The plot, derived from Sir Walter Scott, takes place in Great Britain and involves the enmity between the Saxons and Normans in the 12th century, with Ivanhoe (tenor) being the (disguised) son of the Saxon Cedric (baritone), enemy of Norman Brian de Boisguilbert (bass). The Muslims Ismael (baritone) and his daughter Leila (soprano) take refuge in Cedric’s castle, since Boisguilbert is pursuing them and is in love with Leila. All ends well when Ivanhoe duels with and kills Boisguilbert, and Leila turns out to be Edith, long-lost daughter of Olric, the last descendant of the Saxon kings. Ivanhoe and Edith are allowed to wed, with Saxons and Normans joining together in celebration against the French invaders.
Whether or not the opera is a dramatic success is beside the point; just matching piece to predecessor is fun (Dynamic supplies the information in the accompanying, helpful booklet, along with notes, texts, and translations). And let’s face it, it’s all terrific music. This set was recorded live in Italy in July, 2001, and it’s a mixed bag. The energy and professionalism never are in doubt, and the pacing is fine, as is the work of orchestra and chorus–and for this, conductor Paolo Ariivabeni should be congratulated. Would that he could have helped the singers!
They aren’t awful by any means, but neither are they up to the standards we’ve now been spoiled into expecting. As Ivanhoe, tenor Simon Edwards actually sounds hoarse and indisposed; he’s involved and fluent, but the top of his voice is severely constricted. Where are Ramon Vargas, Raul Gimenez, and Juan Diego Florez when we need them? Inga Balabanova has a wiry, piercing sound and this works against the character of Leila; she’s not terrible, but neither is she a delight to listen to. (Paging Annick Massis, Natalie Dessay, et al.) Soon-Won Kang is good as the wicked Boisguilbert, and both baritones also fill the bill. The French enunciation is a scream, by the way. Is this recommended? Of course it is. But you easily can imagine a performance sung by virtuosos, and this one isn’t it.
