Laugh in the Box: Which of these two finales works better? - Gaetano Donizetti - Zoraida di Granata - "Come volande il folgore" (1822 Finale) (Bruce Ford, Majella Cullagh, Paul Austin Kelly, Matthew Hargreaves, Cristina Pastorello & Dominic Natoli) - No. 1. Cantabile Videos

Added: Nov 19, 2008

From: LindoroRossini

Duration: 10:58

It was with his seventh opera, "Zoraida di Granata", premiered in Rome in 1822 that the young Gaetano Donizetti made his decisive breakthrough into the career of a full time composer. Indeed, the three hour opera is strikingly complex coming from someone so young.As usual in the operatic world, the piece had to overcome several obstacles. Misfortune actually began prior to the premiere when the young tenor contracted for the role of Abenamet burst a blood vessel in his throat (singing the second tenor part in a performance of Pacini's opera "Cesare in Egitto", Sbigoli took part in a quintet with first tenor Domenico Donzelli, in the course of which Sbigoli's character was to sing a phrase "closely resembling one sung just previously by Donzelli"; attempting to match Donzelli's powerful voice, Sbigoli overstrained himself and burst a blood vessel in his neck) and died within a few weeks. With no replacement available to sing the high-lying tessitura, Donizetti hastily re-wrote the role for contralto and in doing so he had to omit several items written for the tenor. The work was further revised in 1824 and given at the same theatre; but in the revised version the role of Abenamet was actually intended for contralto, but one whose status, vocal qualities and demands were far greater than the late substitute singer of the first production, meriting two full arias. Thus, we get two works which, though sharing several pieces, are quite different from one another.I do think that it would be interesting to try and judge the different merits of the works by examining their respective finales. The interest for me lies here in which of the two finales is best in describing the turmoils the characters find themselves. This I leave to the people to comment upon themselves, while I will try and describe the pieces themselves and offer my own ideas on the numbers in question.The finales share several important characteristics, including the story that they are representing and the overall structure. The narrative follows Abenamet, a general of the Moors, returning triumphantly after defeating whatever enemy the people is fighting during the opera (it's not really important). He is greeted by an adoring populace, his beloved, Zoraida, and Almuzir, the murderous usurper of the throne of Granada who is thinking of marrying Zoraida himself. The lovers happiness turns to tragedy as Ali, Almuzir's lackey, runs in announcing that Abenamet has committed high treason by leaving the army's flag for the enemy to take. With this the general is dishonored and taken to jail to the delight of Almuzir and the turmoil of Zoraida and the populace. This story is told through the same musical succession: a rejoicing opening chorus set apart by the lovers excited ariosos a terzettino for the lovers, celebrating their love, and Almuzir, preparing to see his rival being destroyed a scene, as Ali announces the sad news a concentrated sextet as everyone reacts to the new development a tempo di mezzo leading to the final stretta. The first one is the original 1822 finale. Its not as elaborate as its older brother, but I actually like it more for its extreme charm and naiveté that is somewhat missing from the scenes later incarnation.Here is a list of the performers:Almuzir - Bruce Ford,Zoraida - Marjella Cullagh,Abenamet - Paul Austin Kelly,Ali - Matthew Hargreaves,Ines - Cristina Pastorello,Almanzor - Dominic Natoli.The piece opens with a lively opening chorus, distinctively Oriental in its' rhythm and march-like vocalization for the men. This is contrasted superbly with Zoraida's simple, slightly ornamented appeal for the warriors to prove to her that the news of the triumph of her beloved are not false. The chorus' answer is followed by a greeting of Abenamet, riding into Granada. The following terzettino is superbly lively, perfectly detailing the lovers' happiness and, at the same time, Almuzir's conflicting emotions. The succeeding cantabile of shock is much shorter and, at the same time, more humane that the exquisite but cold section that appears in 1824. The finish is preceded by ariosos for all three protagonists, while the stretta, martial in style, brings the needed "bang" to the finale.

Channel: Music

Tags: belcanto  classical  coloratura  donizetti 

Rating: 5.00 (2 ratings)    Views: 111' favoriteCount='1    Comments: 1