Saverio Mercadante - Elena da Feltre (1838) - Sinfonia

"Elena da Feltre" premiered in 1839, the same year as Verdi's first opera, "Oberto". It was commissioned for Naples by the great impresario, Barbaja, following Donizetti's withdrawal over the "Poliuto" censorship problems. Its' flexible treatment of standard operatic forms places the composer midway between the Neapolitan operas of Rossini and the increasing adventurousness of Verdi: in fact, the opera appears midway between "Ermione" (1819) and "Il ballo" (1859), making an interesting case between the old and the new school of Italian opera, already forming in Mercadante's lifetime.

Set in the Guelph town of Feltre in Northern Italy in 1250, during the reign of the Ghibelline Ezzelino da Romano, the story concerns Elena degli Uberti (soprano), daughter of the proscribed Guelph leader Sigifredo (bass), who is in love with Guido (bass-baritone), the unwitting rival in love of his friend, Ubaldo (tenor). Ezzelinos minister, Boemondo (tenor), wants Guido to marry his daughter, Imberga (soprano), whom the latter hates. Ezzelino and Boemondo also seek to capture Elena's father, Sigifredo, who managed to escape his imprisonment. When Ubaldo learns that Guido intends to marry Elena, he thinks of betraying him to Boemondo and then of abducting her. Sigifredo, a fugitive, overhears Ubaldo's attempt and when he intervenes he is taken prisoner. At the palace Boemondo makes it clear to Elena that her father's safety depends on her marriage to Ubaldo, thus persuading Guido to marry Imberga. Under threat she agrees and publicly declares her preference for Ubaldo. Guido is angry, but later suspicious of her motives. Meanwhile, Sigifredo has been executed and, as the sounds of the approaching wedding of Guido and Imberga are heard, Elena learns of the deception, loses her reason and dies, while Ubaldo, grief-stricken, is left to mourn alone.

As per usual, Mercadante's music is consistently that of the highest quality, making a classical (though actually well-crafted and immediate) plot come alive before our very eyes; the music itself is different from the intimacy of "Il giuramento" or the Venetian splendour of "Il Bravo", attaining a superb Gothic character that sets it apart among Mercadante's operas. Predictable, it is the lovers who get the best music, while Ubaldo (Adolphe Nouritt's last role before he committed suicide), though treated superbly dramatically, is left somewhat in the shadow, though this comparison is very subjective, as his music is dramatically urgent. The best music comes in the form of the second act finale (which will be represented among the selections), vaguely reminding one of the sextet from Donizetti's "Lucia di Lammermoor". But let's us pass to the music itself :).

Before a short description of the overture, I feel obligated to post a link to the recording itself (from which I am taking these selections), distributed by "Naxos". It is a perfect representation of the drama, and I would seriously propose you to find it, as both the rendition and the opera itself is worth repeated listenings :).

http://www.naxos.com/catalogue/item.asp?item_code=8.225064-65

No. 1. Sinfonia. The opera opens with a rather strange overture that is by turns stunning and unidiomatic to the work it precedes. It follows the classical Rossinian model and starts with an andante of breathtaking beauty, alternating between rushes of the strings, ornaments of the flute and a ravishing melody carried by a solo viola. One could not hope for a more dramatic or enchanting opening to the opera, and, truth be told, such a prelude would be more than sufficient. But exactly at 4:15 a sudden change in mood occurs, shifting to a much more brisk, energetic allegro of delightful proportions but more at home in a comic setting than in a Gothic opera ending with the death of the heroine and the heartbreak of both rivals to her heart. It is an exciting finish to the overture, and I can see the piece performed in complete form in concert but the finishing allegro seems rather unsatisfying as a representation of the drama (though musically it is quite refreshing).

Hope you'll enjoy :).

Category:

Music

Tags:

• Mercadante
• coloratura
• classical
• belcanto

[just1967me]

Did Mercadante write an overture/sinfonia or a prelude to Il giuramento? I have a recording of that opera, but there is no overture or prelude. I was wondering if he wrote one.

[LindoroRossini]

To my knowledge, no, though, in essence, this choice must have been a part of his revision of the style, an experiment of sorts :).

[txgmajor]

I don't know much of this composer's music. He seems to have gotten squeezed out. I do remember reading that Robert Schumann thought his music was really good. Wonder what Berlioz thought.

[txgmajor]

I don't know much of this composer's music. He seems to have gotten squeezed out. I do remember reading that Robert Schumman thought his music was really good. Wonder what Berlioz thought.