Mattia Battistini, "Figlia di regi, a te l'ommaggio", Meyerbeer: L'Africana (rec. 1912)

Dubbed as "King of the Baritones", Mattia Battistini (1856-1928) remains, along with Caruso and Melba, one of the legendary singers of the 20th century. Battistini is featured here in Nelusko's scene, "Figlia di regi, a te l'ommaggio...Quando amor m'accende" from Meyerbeer's L'Africana. The recording was made in May 1912. Pictures of Battistini appearing in this video come from: Jacques Chuilon, Mattia Battistini: King of Baritones and Baritone of Kings, translated by Thomas Glasow (Plymouth: Scarecrow Press, 2009).

In his mostly laudatory appraisal of Battistini's recordings in "The Record of Singing", Michael Scott singled out this one for special mention, pointing out that:
"...every section is strongly contrasted. The opening cantabile con portamento with the allegro vivace, "Quando amor ,'accende", where he hurls out the marcato passages yet without breaking the line; then at the end of the swelling phrases 'O Brama, O Dio possente", he spins out a legato of incomparable eloquence and intensity. Sung like this, Meyerbeer would not be difficult to revive."

The following synopsis of the opera comes from wikipedia:

The opera depicts fictional events in the life of the explorer Vasco da Gama.

Place: Lisbon, at sea, and in an exotic new land.
Time: late 15th century

Act 1
The council chamber, Lisbon. The beautiful Inèz is forced by her father, the Grand Admiral Don Diego, to marry Don Pédro instead of her true love, Vasco da Gama. Da Gama, who is thought to have died in the expedition of Bartolomeu Dias, appears at the Grand Council saying he has discovered a new land, and displaying Sélika and Nélusko as examples of a newly-discovered race. His request for an expedition is refused, causing da Gama to attack the Grand Inquisitor, who anathematises him. Da Gama is then imprisoned.

Act 2
In prison, Sélika, who is in fact queen of the undiscovered land, saves da Gama, whom she loves, from being murdered by Nélusko, a member of her entourage. Inès agrees to marry Don Pédro if da Gama is freed; da Gama, not realising that Inès has made this bargain, and noticing her envy of Sélika, gives her Sélika and Nélusko as slaves. Don Pédro announces he is to mount an expedition to the new lands that were da Gama's discovery. Nélusko offers his services as pilot.

Act 3
Nélusko is navigating Don Pédro's ship, but is secretly planning to destroy the Europeans. He sings a ballad of the legend of Adamastor, the destructive giant of the sea. Nélusko gives orders which will direct the ship into an oncoming storm. Da Gama has followed Don Pédro in another ship, and begs him to change course to avoid destruction. Don Pédro refuses, and orders him to be chained. The storm breaks out. Nélusko leads the local people to kill all the Europeans on the ships - only da Gama is spared.

Act 4
Sélika's island. Sélika is met with a grand celebration and swears to uphold the island's laws, which include the execution of all strangers. Da Gama is captured by priests, who intend to sacrifice him. He is amazed by the wonders of the island, and sings perhaps the most famous aria of the opera O Paradis! (O Paradise!). Sélika saves him by saying that he is her husband, forcing Nélusko to swear this is true. Da Gama resigns himself to this new life, but hearing the voice of Inès, who is being taken to her execution, he rushes to find her.

Act 5
The island. The reunion of da Gama and Inès is interrupted by Sélika, who feels betrayed. When she realises the strength of the lovers' affection, she allows them to return to Europe, telling Nélusko to escort them to da Gama's boat. She then commits suicide by inhaling the perfume of the poisonous blossoms of the Manchineel tree. Nélusko follows her into death.

Category:

Music

Tags:

• Mattia
• Battistini
• Figlia
• di
• regi
• Meyerbeer
• L'Africaine
• 1912

[AulicExclusiva]

@meltzerboy Exactly right. People who think Meyerbeer's music is all bogus ought to listen to this fabulous performance, the very essence of the Grand Manner.

The prayer at the end (Dio, Brahma!) is particularly unforgettable.

[meltzerboy]

Battistini was not a bel canto baritone in the sense of a singer who cultivated beautiful tone above all else, but rather by virtue of one who expressed emotions through beautiful tone. While he did not sacrifice tone for expression, he sometimes broke the musical line. There is an interpretative art to Battistini's singing that demands admiration as well as a luxuriance of sound and technique having its own appeal. Thanks for posting this, Tim.

[EdmundStAustell]

Another fascinating recording. That bright, somewhat open edge to his voice in the lower registers really facilitates pronunciation and, I can easily imagine, excellent acting, projecting words and bringing the plot alive.