Claudio Abbado conducts The Barber of Sevilla

   Among great Italian operas of 19th century Il barbiere di Seviglia is the one occupying a place reserved for the rarest phenomena. This is much more than the perfect stage comedy or operatic work full of beautiful arias, duets and melodies. Gioacchino Rossini made this work more than a study, maybe a kind of practical treatise on borders of opera buffa. In its original version it was opéra comique for some spoken scenes. One week after premiere became failure, what was provoked by Giovanni Paisiello’s proponents, next performance became a great success. Paisiello was Rossini’s rival and composer of prior version of opera to this Pierre Beaumarchais comedy. Master qualities of Rossini’s version is unquestionable and the way he introduces some of music played on stage as a part of narration and how he comments Beaumarchais’ text can be considered as the contribution to 19th century musical esthetics.
   This was never the simple comedy as it is attempting to be. There are many layers the text and music can be understand and decoded. This is one of very few masterpieces every new generation find in new outlook, thus The Barber of Sevilla is still active in modern discourse on gender, political, social or cultural issues. Dozens of performances in various cultural and historical staging contexts show how capacious and flexible this opera still can be. Maybe most classical production of this opera is Deutsche Grammophone 1971 recording, released one year later in video version in television staging of Jean-Pierre Ponnelle and in 1973 as one record cross section. This rendition became a master class for Rossini’s interpreters for several decades.

Gioacchino Rossini – Il barbiere di Siviglia (excerpts, 1973)

   Although the complete editions are much more valuable and appreciated, the album published by Deutsche Grammophone as Repräsentative Opern-auszüge (Representative opera excerpts) is perfect. One record is enough to present stars of this setting. Neatly set in title role Herman Prey showing full possibilities of his baritone. Great voice of Luigi Alva, probably best tenor leggiero of our time, exquisite in Mozart and Rossini’s operas, performs here with great culture of sound and elegant phrase. Alva is undeniably the star of this performance. Absolute success achieved here Teresa Berganza, perfect vocal technique and beautiful timbre gave Rosina the energy of young lady in love. With massive bass Paolo Montarsolo constructed Basilio’s La calunnia air.

   If featured parts were known in many great appearances, the role of Bartolo was often underestimated. This time with Enzo Dara’s voice and acting possibilities, with technical proficiency, Bartolo is one of main characters of the story. Only lack of space on this “representative excerpts” record can explain why Stefania Malagu singing role of Berta was not taken into account. She is present not with the air but in finale ensemble only. A separate place must be given to the London Symphony Orchestra and the Ambrosian Opera Chorus. In Italian opera dynamics and emphasis are as much matter as balance of phrase and precision articulation. And Claudio Abbado conducting these ensembles has it all. The result is one of best opera renditions, a congenial performance of masterpiece.

Tullio Serafin conducts Rossini

   Gioacchino Rossini lived in turbulent times of expiration of old aristocratic order and establishing new era of romanticism. As composer he is known predominantly for 39 operas, while other works are quite significant catalogue of cantatas and instrumental music, sacred and secular vocal music, orchestral and chamber pieces. Much part of his works remains in limbo. Outside operatic scenes he is known for accidental performances of few most popular works as Stabat Mater (1841) or Petite messe solennelle (1967). But overtures are probably biggest part of his output presented most frequently in philharmonic programs. Some of this pieces beside accompanying the operas became famous as standalone compositions. Sometimes such instrumental instroduction can be more famous than the main work itself. 

   Rossini’s overtures display characteristic attributes of his musical style. He has light pen, composing fast and easy, no wonder he sometimes used schematic solutions. What really matters in Rossini’s oeuvre is his melodic talent. He had the rare ability to transmit emotions with a single melody. And no matter how much simple or complicated this melody was, message was always clear. Creating in romantic period, Rossini in most of his works was representing classical style with great attention to the style of Mozart, who was idealized by Rossini as absolute musical genius. Following his ideal, Rossini was using creative means restrainedly and in balance with semantics. Scarcely in his late works reflected trends of new era. In his overtures this breakthrough is clear.

Tullio Serafin - Rossini - Overtures (1964)

   Some contrasts between Overture “La scala di seta” (The Silken Ladder) from 1812 and overture to William Tell from August 1829 don’t show the real span of changes. In his late operas Rossini was romantic more in intellectual and emotional content than in style. These two are very popular pieces in repertoire of every orchestra, just as symphonic overture to Semiramide from 1823. But two of his overtures are known as classical evergreens and whistled even by those persons who do not even know the name of Rossini. First is Il barbiere di Siviglia (The Barber of Seville), second La gazza ladra (The Thieving Magpie). Both were composed during the period of his peak form in 1815 and 1917, both are representing best features of Rossini’s style and melodic talent.

   There are dozens of albums presenting Rossini’s overtures with almost every orchestra and almost most of mainstream conductors. In most cases it is just the element of promotion. This is especially clear when orchestras and conductors known for their achievements in most demanding repertoire are recording music written for small orchestra in theatrical pit. This can be fancy but it is little bit out of its primary assignment. This point of view makes 1964 album of Tullio Serafin so much valid. He is the legend of opera conducting, Toscanini’s assistant and successor, long time leader of La Scala in Milano, patron of many great singers with famous Maria Callas ahead. This time great Italian opera conductor recorded Rossini’s overtures with Rome Opera Orchestra. Italian opera is background of great orchestras. And even though, this is recording of unusually beautiful orchestra sound. Warm strings, clear wind instruments, colorful percussion and interpretations giving chances to sustain the perfectly balanced tones are marks of great work. The set of listed above overtures was augmented by Storm Music from The Barber of Seville. And this is another good example of symphonic techniques by Rossini and precious sound of the Rome Opera Orchestra.

Anna Moffo – Coloratura Arias

Anna Moffo, famous Italian-American soprano was one of best female voices of LP recording era and phenomenal interpreter of bel canto music. She was benefited by the great popularity in sixties and seventies as lyric-coloratura soprano. She was also beautiful woman and gifted actress. Her signature roles with coloratura passages are remembered both for great stage appearances and musical performances. In her wide discography there are many complete opera performances, mainly for RCA. Interesting presentation from the period of her early career are two albums recorded for EMI with The Philharmonia Orchestra - Mozart Arias (from Mozart's operas but also from Mess C Minor and Exsultate, Jubilate) and Coloratura Arias (from operas by Donizetti, Rossini, Bellini and Verdi). Record sessions for Mozart Arias took place in Abbey Road Studios in May 1958 and for Coloratura Arias in December 1959. During Mozart session orchestra was conducted by Alceo Galliera. In USA where it was mastered by Columbia and published by Seraphim (EMI-Angel label) these recordings became the great introduction to her triumphal years as a star in Metropolitan Opera.

Anna Moffo – Coloratura Arias

Coloratura Arias was last album Anna Moffo recorded for EMI. She appeared with The Philharmonia Orchestra conducted by Colin Davis. The program was carefully and well chosen. Arias and scenes with strong emotional impact from doubts and despair to joy and hope - the whole range of emotions connected with love. On the A-side great two tracks - madness scene from Second Act of Donizetti's Lucia di Lammermoor and aria Una voce poco fa from Act I of Rossini's Il Barbiere di Siviglia. Opposite side contains arias by Bellini and Verdi - from I Puritani (Act II) scene with Elvira's lament and joyous finale aria of Amina from La sonnambula. Giuseppe Verdi is represented by two arias of women in love - Gilda's confession Caro nome from Rigoletto and full of doubts, sad monologue of Violetta from 1st Act of La Traviata. Idea of this set is readable, the exemplary vocal performances have deeper meaning, showing different degrees of love and the dramatic motives of coloratura.