Donizetti knew relatively few failures compared to the one suffered by the opera "Emilia di Liverpool" which never gained any kind of popularity, despite the composer's lasting fondness of it. The first version of the score, "Emilia di Liverpool", arose from Donizettis relationship with the theaters of Naples, already strengthened by the earlier success of "La zingara" (1822). He was commissioned by the impresario of the Il Nuovo to write a semi-seria opera for the 1824 season. The requirements of the populist small theatre were quite specific, including the addition of large amounts of spoken dialog and a buffo role written in Neapolitan dialect. These demands stretched the already melodramatic plot beyond all reasonable limits and obviously were somewhat in the way of Donizetti's musical inspiration, thus, the opera, premiered July 1824, despite the composers high hopes, disappeared after eight performances, reviewers criticizing the libretto which they thought feeble to the point of enervating. Donizetti, never one to give up immediately, subsequently oversaw (with the help of Mercadante, no less) a Viennese production of "Emilia" the very same year, adding some new music to the work, yet again to no avail. In 1828 the composer, with the help of librettist Giuseppe Checcherini, made a final attempt to breath life into the opera. The revision was radical: eight numbers were removed, four newly written were added for good measure. The revision, retitled "L'eremitaggio di Liwerpool", was no more popular than the original, lasting six performances, and Donizetti finally gave up on the work, giving it no more attention.
It is difficult to blame the libretto for the opera's failure, though Federico's terrible crime (dangerously close to being termed "rape") makes any attempt by the composer to present the opera as a light work (and, indeed, the music of "Emilia" is quite sunny, in accordance with the genre of semiseria) ultimately futile. Despite the constant revisions of the text, the story basically remains the same: Emilia (soprano), who, although promised in marriage to a nobleman, Don Romualdo/Count Asdruble (bass), has been seduced by Federico/Villars (tenor) and then deserted, causing her mother to die of shame. Her father, Claudio (baritone), defrauded of his assets, has disappeared abroad and is believed to have died. Emilia retires to a hermitage founded by her aunt Candida (mezzo-soprano) where, many years later three travelers (predictably, the three men) seek refuge during a storm. And all this familial tragedy is not only presented in light, buffo numbers but also culminates in a rather unsavory happy ending involving the blessing of Emilia's and Federico's marriage!
Donizetti seems to have been disconcerted by the libretto, thus his music is shy of both the true drama which can be found in his later tragedies but which is denied by the label of "semiseria" and the unashamed charm of the various comedies and farses on which he concentrated during these early years. Thus, much of the music lacks both theatrical effectiveness and sheer melodic vivacity: Romualdo is given an aria and even takes part in a buffo duet but both these numbers, action-wise devoid of interest, are most notable for their codas. The 1828 version is more effective as a work of the theatre: the previously mentioned Romualdo pieces are abandoned, the quintet is transformed into the Act I finale, while the climatic recognition duet between Emilia and her father is moved to Act II. However, the final version, despite the progress Donizetti has made, is not comparable to the composer's best works. However, one can easily find attractive pages even in such a curiously uneven piece. In particular, both Emilia and her father are portrayed through infinitely appealing music, with the latter's long opening cavatina easily being the strongest number of the whole work; while both the quintet and the Act I finale from the original opera feature strettas booming with energy. All in all, a work that is oppressed by the inconsistencies of the libretto, though still possessing some charming music.
The recording in question (the only one to present the work in the maximum state of completeness) defies the faults of the opera itself and wins the listener over with a combination of fresh orchestral playing, winning direction and singers of great talent (especially notable is the contribution of Merritt who is caught in top form):
Emilia - Yvonne Kenny,
Candida - Anne Mason,
Luigia/Bettina (soprano), Romualdo new fiance/Asdruble's niece - Bronwen Mills,
Don Romualdo/Count Asdruble - Sesto Bruscantini,
Claudio di Liverpool - Geoffrey Dolton,
Federico/Colonel Villars - Chris Merritt,
Count/Giacomo - Christopher Thornton-Holmes,
Chorus - Geoffrey Mitchell Choir.
Orchestra - Philharmonia Orchestra,
Conductor - David Parry.
Loading...
10:58
Hidden treasures - Gaetano Donizetti - Elvida (1826) & Francesca (1831) - Selected highlightsby LindoroRossini1,965 views
2- this is all before Garibaldi. therefore, this stuff was written in one of the City States or Principalities.......maybe Piedmont! i wouldnt mind owning Piedmont. lots of fields and trees. my little happy place! i suppose its part of France or Italy now.
acerb45666555 2 years ago
who painted that? is it a Rembrandt?
acerb45666555 2 years ago
Wonderfull Donizetti, a real treashure. Many thanks for it.
WQ673 2 years ago