Donizetti - Imelda de' Lambertazzi
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Composer: Gaetano DonizettiConductor: Mark Elder
Orchestra: Orchestra of the Age of Enlightenment
Orchestra: Geoffrey Mitchell Choir
Performer: Nicole Cabell
Performer: James Westman
Performer: Massimo Giordano
Performer: Frank Lopardo
Performer: Brindley Sherratt
Edition: Music CD
Audio: English (Unknown)
Format: Box set, Hybrid SACD - DSD, Import
CD Release Date: 2008-04-08
Music Label: Opera Rara (UK)
Soundtracks:
Music CD 1
- Imelda de'Lambertazzi, opera: Act 1. Preludio. All'armi!
- Imelda de'Lambertazzi, opera: Act 1. Preludio. Amici! e qual risuona
- Imelda de'Lambertazzi, opera: Act 1. Preludio. Voi, che fulmini di guerra
- Imelda de'Lambertazzi, opera: Act 1. Preludio. Ah! si oda lo squillo
- Imelda de'Lambertazzi, opera: Act 1. Recitativo dopo l'Introduzione. Itale schiere
- Imelda de'Lambertazzi, opera: Act 1. Scena e Cavatina Imelda. Vincesti alfin!
- Imelda de'Lambertazzi, opera: Act 1. Scena e Cavatina Imelda. Amarti, e nel martoro
- Imelda de'Lambertazzi, opera: Act 1. Scena e Cavatina Imelda. Ma il Ciel non ode
- Imelda de'Lambertazzi, opera: Act 1. Recitativo dopo la Cavatina Imelda. E' il genitor nelle sue stanze, Imelda?
- Imelda de'Lambertazzi, opera: Act 1. Duetto. Ah! m'odi...
- Imelda de'Lambertazzi, opera: Act 1. Duetto. Non ti giurasti mia?
- Imelda de'Lambertazzi, opera: Act 1. Recitativo dopo il Duetto d'Imelda e Bonifacio. E' Orlando che si avanza!
- Imelda de'Lambertazzi, opera: Act 1. Finale Primo. Del cittadino al dritto
- Imelda de'Lambertazzi, opera: Act 1. Finale Primo. D'invitti Eroi degni nepoti!
- Imelda de'Lambertazzi, opera: Act 1. Finale Primo. Vengo a voi
- Imelda de'Lambertazzi, opera: Act 1. Finale Primo. L'incarco esponi
- Imelda de'Lambertazzi, opera: Act 1. Finale Primo. E quale pegno di stabil pace
- Imelda de'Lambertazzi, opera: Act 1. Finale Primo. Imelda!
- Imelda de'Lambertazzi, opera: Act 2. Recitativo e Duetto. Segui i miei passi
- Imelda de'Lambertazzi, opera: Act 2. Recitativo e Duetto. Di Bonifacio il padre...
- Imelda de'Lambertazzi, opera: Act 2. Recitativo e Duetto. Tu l'hai spenta nel mio petto
- Imelda de'Lambertazzi, opera: Act 2. Recitativo dopo il Duetto. Mi narri il ver?
- Imelda de'Lambertazzi, opera: Act 2. Scena. Chi viene?
- Imelda de'Lambertazzi, opera: Act 2. Scena. Dolente a voi ritorno
- Imelda de'Lambertazzi, opera: Act 2. Aria di Bonifacio. Imelda a me volgea
- Imelda de'Lambertazzi, opera: Appendix. M'odi almen
- Imelda de'Lambertazzi, opera: Act 2. Duetto, Finale Secondo. Imelda... Lasciarti?
- Imelda de'Lambertazzi, opera: Act 2. Duetto, Finale Secondo. Ma volano rapidi
- Imelda de'Lambertazzi, opera: Act 2. Duetto, Finale Secondo. Addio per sempre!
- Imelda de'Lambertazzi, opera: Act 2. Duetto, Finale Secondo. Ove ten fuggi?
- Imelda de'Lambertazzi, opera: Act 2. Duetto, Finale Secondo. Morte al Guelfo!
- Imelda de'Lambertazzi, opera: Act 2. Duetto, Finale Secondo. Padre... son rea... lo vedo!
Music reviews of Donizetti - Imelda de' Lambertazzi
Music Review: Moving and Powerful
Rating: 5 Stars
Many thanks to Opera Rara and Peter Moore's Foundation once again for making this rarely recorded Donizetti opera available. Everything about the production and packaging is first rate as we have come to expect from OR. Jeremy Commons admirably lays out the story( and what a story it is!) of the writing, rehearsing and disasterous San Carlo prima of Imelda di Lambertazzi, Donizetti's 30th opera. It's his version (my impression) of the Romeo and Juliet story, set in 13th century Bologna. The opera opens with the Chorus bemoaning the endless conflict between two warring families, the people want peace but the leaders only want war. Sound familiar? I was hooked right away. This opera is written primarily for the male voice, the title role being the only part for the female voice (excluding Chorus) and the first act has a lot of swagger and challenge from the warring factions, my favorite being the baritone hero Bonifacio, James Westman. At the time of writing Imelda the most famous singer avilable at the San Carlo was the superb Antonio Tamburini so Donizetti wrote the most florid parts for Bonifacio (most unusual) and Westman is more than capable of stepping into the great man's shoes. He handles the coloratura beautifully with a very dramatically sound and sumptuous instrument and is well matched with Nicole Cabell as Imelda. Because Donizetti was faced with an untried and inexperienced soprano he scaled back and simplified her role (up to a point) and the soprano role is relatively unadorned (most unusual). Cabell has an absolutely beautiful voice, extremely expressive and focused and with beautiful range. She is positioned against her despicable father Orlando,tenor Frank Lopardo and despicable brother Lamberto, tenor Massimo Giordano both very capable and convincing. Imelda is yet another Italian opera heroine involved in that awful web of lover/father/brother push-pull that certainly had currency in the 19th century. Imelda however does not go mad (Donizetti didn't have the soprano for that) but stands her ground with courage and dignity then dies for love (Lamberto has stabbed Bonifacio with a poisoned dagger then Imelda sucks the poison from Bonifacio's wound. They both die). This was the first time Donizetti had presented a death on stage, much to his satisfaction and as he had predicted he would do a year earlier to his mentor Mayr. This is, for the period, a relativly simple work, very inventive and original and deserving a full on staging (this is a concert performance). I lavish praise upon Mark Elder conducting the Orchestra of the Age of Enlightenment with period instruments and gut strings. Elder gets everything just right and the musicians are superb with special notice to Antony Pay on clarinet and Richard Lester, cello. Pay especially touched me with the gorgeous passages Donizetti wrote for that instrument, playing them movingly with beautiful agilita (yum!). The Geoffry Mitchell Choir is as usual stunning. Act two ends with an arioso for Imelda that is very stiking and was way ahead of its time for Napoli so they booed and hissed, the reviews were poor and that was nearly the end of Imelda di Lambertazzi but the next year the San Carlo gave it another go (the opera still didn't fly) with a different soprano and for her Donizetti wrote the sort of coloratura death scene aria, "M'odi almen" that the audience would have expected; it's an add-on to the CD and is exciting to hear Cabell turn it on for a wonderful aria. But it is the arioso that fits the drama most perfectly. With either finish Cabell is superb (and beautiful). There are lots of images of the cast and others in the book and a very easy to read libretto. An easy five stars for this important, historical recording and with extended Bravi for all concerned!!!
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