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Gioachino Rossini, La scala di seta - Daniele Zanfardino ten, Olga Peretyatko sop, Anna Malavasi mezzo, José Manuel Zapata ten, Carlo Lepore bass, Paolo Bordogna bar - Orchestra Haydn di Bolzano e Trento, Claudio Scimone cond - Damiano Michieletto stage director, Paolo Fantin set and costume design - Opus Arte 1075, 2012 (1 DVD: 105 minutes [opera] and 22 minutes [bonus material]), $23

Published online by Cambridge University Press:  06 November 2017

Daniela Macchione
Daniela Macchione*
Affiliation:
Works of Gioachino Rossini (Center for the Italian Opera Studies, The University of Chicago, and Bärenreiter Verlag, Kassel) daniela1@uchicago.edu
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Type
DVD Review
Information
Nineteenth-Century Music Review , Volume 14 , Special Issue 3: Music in Nineteenth-Century Romania , December 2017 , pp. 431 - 434
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© Cambridge University Press 2017 

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References

1 Giornale dipartimentale dell’Adriatico (12 May 1812), quoted in Gioachino Rossini, La scala di seta, ed. Anders Wiklund, vol. 6 of Edizione critica delle opere di Gioachino Rossini (Pesaro: Fondazione Rossini, 1991): xxii–xxiii. The critical edition was prepared after the discovery of the autograph in the Nydahl Collection in Sweden.

2 This production was conducted by Gabriele Ferro; the stage director was Maurizio Scaparro. It is available on YouTube: www.youtube.com/watch?v=E5LWet5lkS8.

3 For a first-hand account of this production, see Philip Gossett, Divas and Scholars: Performing Italian Opera (Chicago and London: University of Chicago Press, 2006): 23–5.

4 It was widely praised by the press: ‘one of the most genuine and exciting successes in the history of Rossini Opera Festival’ (Il Giornale); ‘a single act with beautiful singers in a chemise and men in their underwear’ (la Repubblica); and ‘A lot of the things that happened onstage were only tangentially related to Foppa’s original plot, but the inventiveness of the director was so consistently inspired by the rhythms and colors of the music that it was hard not to succumb, particularly when baritone Paolo Bordogna was at center stage’ (Opera News). However, some reviews were more negative: ‘We are not willing to agree with the enthusiasm for modern inclinations …. We do not like to see comedy, even a farce, treated as an afternoon sitcom. The direction’s undeniable merit is to emphasize the look of the female part of the cast, suffering however for an excess of frenzy and copious gags though not always inspired and rather often annoying, above all for the singers who first of all should be left sing in peace’ (Corriere della Grisi). (The translations are my own.)

5 This production was conducted and directed by Emidio Tieri. Frazzi’s edition was also adopted for the RCA Victor LM 2650 (1962), featuring the Orchestra Filarmonica di Roma conducted by Franco Ferrara.

6 Orchestra della Svizzera Italiana, conducted by Marc Andreae, House of Opera 1643 (1983); reissued by Opus Arte 4023D (2006). Available on YouTube, although the file has been incorrectly uploaded and music starts from the ninth measure of the Sinfonia: www.youtube.com/watch?v=cPbBygE8XMcl.

7 Radio-Sinfonieorchester Stuttgart, conducted by Gianluigi Gelmetti, Euro Arts 2054978 (2006).

8 Ferdinando Cotugno, ‘Smettiamo di vivere in un museo’, Vanity Fair, 20 September 2017, p. 140.

9 A piano-vocal score was published in the 1850s by a corporation of European editors, including Ricordi, Brandus, Boosey, Leduc, Lichtenauer and Schott; the edition is available on www.imslp.org/. Gossett (Divas and Scholars, 24) reveals that he himself prepared an edition of ‘Alle voci della gloria’ for bass and orchestra for Samuel Ramey (Rossini: Arias, Teldec Classics 9031732422 [1991]). The aria is available on YouTube: www.youtube.com/watch?v=i8blRzGru0Y.