CLASSICAL NOTES NOVEMBER 11, 2022

 

(Right: The cover of “Le Duc D’Albe”)

William Charlton-Perkins writes a regular feature for the media titled Classical Notes. This one is titled: Le Duc D’Albe, Donizetti’s magnificent torso restored

Another retrospective of a bel canto treasure is restored to circulation, as Opera Rara and Sir Mark Elder continue their exploration of Donizetti’s Parisian oeuvre with this 2016 release of Le Duc D’Albe.

Donizetti’s unfinished opera of 1839 was originally planned as the follow-up project to wow audiences in the French capital in the wake of Les Martyrs. Sadly, the capricious shenanigans at the Paris Opéra impacted on the opera’s gestation, and the composer was forced to jettison Le Duc d’Albe after completing the first two acts.

(Left: Sir Mark Elder)

 Three decades after Donizetti’s death, it was completed by Matteo Salvi, one of his pupils, who referenced the composer’s sketches for the opera’s third and final acts. Notwithstanding the occasional performances that followed Salvi’s completion, Opera Rara opted to record only the bona fide first two acts. As the label’s dramaturge, Donizetti specialist Roger Parker explains, the final two acts were deemed too fragmentary to be presented without resorting to an unacceptable amount of patching.

Deploying Parker’s new critical edition of the score, this fine studio recording of Le Duc D’Albe offers a self-standing torso. And what a torso it is! As in his prior recordings of Donizetti’s Dom Sebastien, and Les Martyrs, Elder’s fervour inspires his stellar team of soloists, choristers, and his Hallé players, to reveal how thrillingly Donizetti’s creative powers were firing on all cylinders throughout the last decade of his life.

(Right: Michael Spyres)

French baritone Laurent Naouri brings distinction to the title role. He casts his benevolence over the hero of the piece, Henri, magnificently sung by American baritenor Michael Spyres (here reprising the success he scored in Opera Rara’s 2015 release of Les Martyrs).

Equally impressive, in this, her debut recording, Spyres’ compatriot, coloratura spinto soprano Angela Meade shines in the role of his beloved, Hélène, defiant daughter count Egmont - the same character who derived from the Goethe drama that spawned Beethoven’s overture.

(Left: Angela Meade)

Gianluca Buratto is on form as the brewer Daniel, and there is much to admire from the rest of the cast, too. The score is richly endowed with stand-out moments, brought to life with immense care and integrity under Elder’s watch. High on the list of stand-out moments is Ms Meade’s thrilling account of Hélène’s big Act1 aria; likewise, the duet between the duke and his son; and the stealthy conspirators’ ensemble ‘Plus bas…Plus bas’ (disc 2, tr 8).

More visceral thrills emanate from the extended duet between Henri and Hélène (crowned with full-throated top E flats from both singers); and the exultant final hymn to freedom in Act 2. Opera Rara deserves gratitude for yet another remarkable release, presented with all the panache the world expects from each new find.

For more information, and to purchase Opera Rara releases, go to: https://opera-rara.com/shopcatalogue. - William Charlton-Perkins