Giuseppe Verdi (1813-1901)
Marina Mescheriakova, Marcello Giordani
Roberto Scandiuzzi, Philippe Rouillon
Choeur du Grand Théâtre de Genève
L'Orquestre de la Suisse Romande
dir: Fabio Luisi
Label; Philips (2000) 462 613-2 PH3 DDD 3 CD
Recorded at the Victoria Hall of Geneva , 18-25 August 1998.
[flac&cue; cover,inlays,disc&booklet scans]
Here's Jérusalem, an adaptation of his original opera, I lombardi alla prima crociata (my previous post) to be presented in Paris in 1847. I thought it was interesting to compare their differences. And there are plenty of them:
"thereare significant changes in the location and action of the French version of Lombardi, especially given the need to set the story for French involvement in the First Crusade of 1095–1099. Characters' names changed from Italian to French and one, Arvino (who was renamed as the Count of Toulouse, though elements of his character were given to the principal tenor role, Gastone) was now a baritone instead of a tenor. Several roles present in the original version were deleted, including the leading tenor role of Oronte. In the restructured libretto, the central romance is given more prominence, and a happier ending. In addition, Verdi added a standard ballet and new music, but re-shaped much of the structure by removing inappropriate material he felt to be weak. As musicologist Roger Parkers notes, "only a few of the original numbers [remain] in their former positions." Verdi himself described the new work as having "transformed [I Lombardi] out of recognition". - WIKIPEDIA
Reviews:
"It is obvious from the spirit of the punchy Introduction that Luisi cares about this opera, something that is never called into question, especially in the more tender sections of the score. The tenor Marcello Giordani (who takes the part of Gaston) has a fresh voice, possibly lacking a little in body but nevertheless dramatically complete: his plea for mercy in Act 3 Scene 2 is an indicator of his capabilities. The soprano Marina Mescheriakova is tender and pure of voice, the ideal interpreter of Hélène's prayer to the Virgin Mary in Act 1. She has the innocence in her voice to convince us that her entreaty to 'cause all hatred to disappear together with my fears' really could come true. Where she really impresses, however, is in the duet in which she is reunited with Gaston. Here she is the very model of barely-controlled ecstasy. Her Act Three soliloquy, Que m'importe la vie attests to her expressive capabilities. She has an assured technique which means she can negotiate with ease the many difficulties of her part.
The cast is carefully chosen. The Papal legate, sung by Daniel Borowski has the judgemental weight necessary to the role, both in Act One and in Act Three. His voice is beautifully focussed at each entry. The bass Roberto Scandiuzzi, who takes the part of Roger, is sometimes wobbly but nevertheless still authoritative. Most importantly Luisi keeps the experience fresh throughout. The booklet essay comes from no less an authority than Julian Budden. Recommended." - Colin Clarke - January 2001-www.musicweb-international.com
Note: For me, the only discordant note of this recording concerns pronunciation, none of the leads are french leading to occasional oddities of French pronunciation, and in same cases, as for instance the soprano, is difficult to understand a world. A pity because she sings divinely.