Search - Vincenzo Bellini, David Parry, London Philharmonic Orchestra :: Vincenzo Bellini: La straniera

A worthwhile effort

S. Wells | California | 11/17/2008

(4 out of 5 stars)

"For this work, Bellini was exploring a more declamatory style that was common at the time. Don't expect filigree vocal lines and pyrotechnics on the "Sonnambula" or "Puritani" order. Although standard forms can be recognized here, the style is remarkably plain, making this an unusual, intriguing and, to me, enjoyable piece of music.



The title role of Alaide might be better served by a darker, heavier voice than that of Patrizia Ciofi. Still there is much to enjoy in her performance. Her voice is vibrant and she colours it well to present a thoughtful, involved rendition of her part.



The background essay explains that Bellini wanted the great Rubini for the tenor role, Arturo, but Rubini was unavailable due to other commitments. This, presumably, accounts for the lack of an aria for the tenor. Nor does the part lie in the stratosphere as do other roles written for Rubini. The role, however, does pose demands which Dario Schmunk isn't quite able to meet. His tone tends to turn dry, pinched and forced when the music ventures above the staff.



Mark Stone and Enkelejda Shkosa adequately fill out the cast in the baritone and mezzo parts of Baron Valdeburgo and Isoletta. The London Philharmonic Orchestra and Geoffrey Mitchell Choir respond well to David Parry's conducting.



I recommend this to all lovers of Italian opera from this period.

"

Outstanding Alaide

Alan Davies | Philadelphia, PA USA | 04/21/2009

(4 out of 5 stars)

"Taken as a whole, this new recording of Bellini's wonderful La straniera is an absolute triumph. It is certainly the best overall account of this amazing score to be found on disc. I own just about every possible pirate of the piece, including accounts by Scotto, Caballe, Souliotis, Aliberti, Neblett, Pendatchanska, and Fleming. While flawed, this opera overflows with beautiful music, and vividly illustrates how Bellini was attempting to move compositionally away from the tried-and-true bel canto formulas of his day.



I believe the performance is uncut - an important feature, as most (perhaps all) of the pirate versions are cut - some less, some more so. I suppose it becomes a habit to complain about cuts, but really, the full musical forms are vital in order to experience the sweep, gesture, and compositional structure Bellini had in mind. In order to criticize fairly, I do feel some well-balanced comments are in order, so I will attempt to shed some light on the less felicitous aspects of this generally wonderful recording.



Beginning with some positive remarks, the orchestra is outstanding - elucidating that wonderful Bellinian "atmosphere" through their virtuosic playing. The winds in particular play beautifully, with special kudos due to the oboist and flautist. David Parry's conducting is quite fine, though I don't feel he is quite "inside" the Bellini idiom (easy for me to say, I know). He works his way around and through the many awkward musical junctures quite effectively (probably better than any other conductor in my collection), and he gives the singers the space they need to get all the notes in (and stylishly). Still, the recording is terribly studio-bound - only intermittently does it take on the dramatic urgency practically demanded by Bellini's larger concertante moments, and I hold Parry responsible. He's just a bit too leisurely: in a score which cleaves close to the Pirata mold, but is interwoven with some of the pastoral flavors of Sonnambula, Parry rather errs toward gentleness at the expense of excitement, IMO. The chorus is as superb as the orchestra - really great all around efforts here.



Patrizia Ciofi contributes a nearly flawless Alaide - a tremendous achievement.. While her slender voice is taxed to the limit by Bellini's big-boned heroine, Ciofi is unflappable in her polish and technical assurance. The tone is unfailingly beautiful, and she really seems to understand her character. If there is a let-down, it comes during the more "hysterical" moments, when Ciofi simply cannot muster the force (either emotional or vocal) that the role seems to demand. Overall though, this is an interpretation to treasure.



The tenor, Dario Schmunck, sings his role (originally conceived for Rubini) remarkably well, given the relatively large amplitude of his voice. His tone is attractive, use of language is good, and understanding of the style is above average. Still, you never get the impression that he much cares about what he's singing: i.e., he is oddly detached - the vocalism is present, but there's just not much character behind it. The baritone Mark Stone fairs rather more poorly, but here, the problem is with the vocal endowment itself. It is simply not a first-class voice - and there is nothing whatsoever Italianate about the sound. In fact, his tone is rather grey, and he sounds perfunctory much of the time. Aside from several ill-advised high notes, he doesn't do anything wrong, per se. I can just imagine many other baritones who might have done much more with this excellent role that was taken on many times by the great Ronconi. Enkelejda Shkosa offers a mostly well-sung Isoletta, until she needs to move upward, where the voice turns blowsy and somewhat screamy. Again, I couldn't help wondering about the many mezzos who might have offered more here.



So this all sounds somewhat negative, and I don't want it to really - the overall effect is much greater than the sum of its parts. And Ciofi is superb. As mentioned, the opera itself is well worth hearing and every fan of the bel canto period should have at least one recording of La straniera - Bellini's fourth opera - in his collection. Of those available, this is certainly the best. Buy it! You'll be glad you did."

Excellent

John Cragg | Delta(greater Vancouver), B.C Canada | 12/13/2008

(5 out of 5 stars)

"There is much to be said for La Straniera. It is innovative and distinctive and has a great deal of very stunning music. With so few Bellini operas in total, it is surprising that this work has received so liitle attention, both in the theatre and in recording. Opera Rara has come up with a fine "studio" recording apparently recorded in conjuction with a concert performance in 2007. The opera is to some extent a stunning vehicle for the prima donna soprano and most previous recordings available on cd (of dubious provenance and even more dubious recording skill) have celebrated a few first class sopranos who undertook the role in the great surge of Bel Canto productions for major theatres in the 20th century. Here the soprano, Patrizia Ciofi, in the title role comes through with some very lovely and striking singing, one which makes it a joy to hear the recording repeatedly and makes one desirous of hearing more of her. The tenor, who has a curious role, without aria, in an absurd story, is not as strong a counter foil as one might expect, but Dario Schmunk accomplishes a generally strong performance, not much aided by weak recording resulting one suspects from his standing back from his microphone at times. The weak tenor role is to some extent mitigated by a strong baritone role well navigated by Mark Stone and a good mezzo role well sung by Enkelejda Shkosa. The conducting by David Parry is consistent, coherent and distinguished, bring out a strong performance by the first class orchestra and chorus. All in all a very good and satisfying recording of an interesting work.



As usual Opera Rara comes up with a lavish and overblown booklet. It has a good English translation of the libretto, and a remarkably lacking essay on the opera. Notable among its ommissions is any discussion of the performers in the recording -- a substantial number of photos in no way comepensating for the lack of information. Similarly, there is no discussion of the the sources of the material used here, and whether Bellini made any revisions after the premiere (there is a frustrating hint that there were revisions.) Frustration is increased by a quote about the tenor's capabilities with no discussion of the extent to which Bellini actually used the tenor's putative range and whether Mr Schmunck has a similar voice. While this is annoying, Opera Rara's oversized box now not containing a proper jewel case of the cd's but instead pimples built into the cardboard of the box is a step down from thier usual standards and not a welcome changee. But this is no reason not to go for a first class version of an important and satisfying opera -- one doesn't buy cd's for the packaging or the essay."