Donizetti’s Dom Sébastien debuts at Covent Garden

Emanuele Senici

martes, 13 de septiembre de 2005

Gaetano Donizetti © Dominio público

London, sábado, 10 de septiembre de 2005.

Royal Opera House, Covent Garden. Gaetano Donizetti, Dom Sébastien, roi de Portugal, opera in five acts, libretto by Eugène Scribe, critical edition by Mary Ann Smart, concert performance. Vesselina Kasarova (Zayda), Giuseppe Filianoti (Dom Sébastien), Alastair Miles (Dom Juam de Sylva), Simon Keenlyside (Abayaldos), Carmelo Corrado Caruso (Camoëns), Robert Gleadow (Dom Enrique), John Upperton (Dom Antonio/First Inquisitor), Lee Hickenbottom (Second Inquisitor), Andrew Slater (Ben-Sélim), Martyn Hill (Dom Luis), Nigel Cliffe (Soldier), John Bernays (Third Inquisitor). Orchestra and Chorus of the Royal Opera House, Covent Garden. Renato Balsadonna, chorus director. Mark Elder, conductor. Royal Opera House, Covent Garden. Gaetano Donizetti, Dom Sébastien, roi de Portugal, opera in five acts, libretto by Eugène Scribe, critical edition by Mary Ann Smart, concert performance. Vesselina Kasarova (Zayda), Giuseppe Filianoti (Dom Sébastien), Alastair Miles (Dom Juam de Sylva), Simon Keenlyside (Abayaldos), Carmelo Corrado Caruso (Camoëns), Robert Gleadow (Dom Enrique), John Upperton (Dom Antonio/First Inquisitor), Lee Hickenbottom (Second Inquisitor), Andrew Slater (Ben-Sélim), Martyn Hill (Dom Luis), Nigel Cliffe (Soldier), John Bernays (Third Inquisitor). Orchestra and Chorus of the Royal Opera House, Covent Garden. Renato Balsadonna, chorus director. Mark Elder, conductor

'Dom Sébastien' is not only Donizetti’s last opera, but also one of the best representatives of grand opéra, every bit as good as other classics of this genre such as Rossini’s Guillaume Tell, Meyerbeer’s Les Huguenots, Verdi’s Don Carlos and Donizetti’s own La Favorite. As it happened with most of these titles, Dom Sébastien was quite successful for a few decades after its première in France (Paris, 1843) and in many other countries, but it circulated in a highly corrupted text (and also mostly in Italian translation). Then it disappeared almost completely, apart from a few occasional outings (notably in Florence in the 1950s).

Mary Ann Smart’s magnificent critical edition, first performed in Bologna in 1998 but only recently published by Ricordi as part of the Donizetti Critical Edition, restores Donizetti’s original intentions,…

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