Francesco Cilea (1866-1950)
Gloria, dramma lirico in three acts (1907, revised 1932)
Libretto by Arturo Colautti (1851-1914)
Gloria: Anastasia Bartoli (soprano)
Bardo: Franco Vassallo (baritone)
Lionetto de’ Ricci: Carlo Ventre (tenor)
Orchestra e Coro del Teatro Lirico di Cagliari / Francesco Cilluffo
Antonio Albanese (stage direction)
rec. live, February 2023, Teatro Lirico di Cagliari, Cagliari, Italy
Naxos 8.660568 [86]
This is the audio version of a performance recorded in video, which Jim Westhead reviewed last year. Those who have the video may still appreciate these comments, but here obviously we are addressing the performance from the auditory point of view. A few months ago, I reviewed a splendid DVD of Boito’s incomplete opera Nerone, and so did Mike Parr. That production was from the Teatro Lirico di Cagliari, as is the present one.
The conductor in both spectacles, Francesco Cillufo, has acquired a fine reputation in general, but is especially known for his performances of forgotten operas. While Nerone is hardly obscure, it is rarely performed. On the other hand, despite the success of Adriana Lecouvreur and L’Arlesiana, Cilea’s Gloria lasted only two nights after its premiere on 15 April 1907 at La Scala di Milano. It has been buried ever since. Indeed, after that reception Cilea wrote no more operas. He only wrote a few orchestral works, songs and chamber music and, after 1920, he mostly devoted himself to teaching. Even so, Gloria is “well worth a listen,” as a friend of mine used to say.
The opera takes place during the later struggles in Italy between the Guelphs and the Ghibellines. The libretto bears elements of Shakespeare’s Romeo and Juliet, although the location is Siena rather than Verona. For a shortened version of the plot, I will take the liberty of copying Jim Westhead’s excellent summary. Gloria, a young woman, is abducted by Lionetto, a son of the rival family. They fall in love to a background of bloody warfare. Lionetto tries to bring reconciliation by marrying Gloria. He has underestimated the hatred of Bardo, her brother. Bardo fatally stabs Lionetto to avenge his father’s death. In good operatic tradition, Gloria stabs herself and dies.
While there are several grandiose scenes in Gloria, this basically three-character opera belongs to Gloria, Fortebrando and Bardo. Anastasia Bartoli is excellent in the title role. Her voice is powerful and clear, and she does equally well when she must be tender. Her singing in the first-act aria Virgine d’astri is quite moving. She is equally good in the second-act reconciliation scene.
Franco Vassallo as Bardo was also in the above-mentioned Nerone. I found him better as Simon Magus in that opera, but his singing in the third act of Gloria stands out. Tenor Carlo Ventre blends splendidly with Bartoli. I liked his big solo aria in Act 1, Storia ho di sangue. The lesser roles are well performed, especially that of Alessandro Abis as the bishop. Cillufo handles his forces with aplomb. He pays special attention to Cilea’s refined and subtle orchestration, which in some ways is the most notable feature of Gloria.
While this opera may never be as popular as Adriana Lecouvreur or even L’Arlesiana, it is still worthy of performance, if only occasionally. It has a great role for a dramatic soprano, and shows the composer’s abilities at their fullest. It is a shame that is so little-known. It is to be hoped that this new production will help bring Gloria out of obscurity.
William Kreindler
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Other cast members
Aquilante de’ Bardi: Ramaz Chikviladze (bass)
Il Vescovo (Bishop): Alessandro Abis (bass)
La Sienese (Sienese Woman): Elena Schirru (soprano)
Un Banditore (A Town Crier): Alessandro Frabotta (bass)
