Ottorino Respighi (1879-1936)
Maria Egiziaca (1932)
Maria – Francesca Dotto (soprano)
Pilgrim/ Abbot Zosimo – Simone Alberghini (Baritone)
Sailor/ Leper – Vincenzo Costanzo (tenor)
Orchestra and Chorus of the Teatro La Fenice di Venezia/Manlio Benzi
rec. live, 10 March 2024, Teatro Malibran, Venice, Italy
Naxos 8.660591 [69]
This religious mystery play inspired the composer to set it to music as a sort of hybrid between an opera and oratorio. It was conceived as a musical triptych, containing three distinct scenes in the life of Mary of Egypt which have been divided by symphonic interludes. The work had its world premiere at Carnegie Hall in 1932 with the composer stepping in to conduct for the indisposed Arturo Toscanini.
The first thing one can say about this new recording is that the sound is splendidly captured in a live theater acoustic. This was recorded at the Teatro Malibran in Venice and the results have impressed me as much as they did last month when I reviewed Vivaldi’s Il Bazajet for the same label. The orchestra and soloists have a natural presence as witnessed in the fascinating interlude between the second and third scenes. Respighi’s music here has a depth and directness that it seems to lack elsewhere in this piece. There is beauty and sonority in this score but nothing really leaves any sort of lasting impression that one recalls afterward.
The main role of St Mary of Egypt is sung by Francesca Dotto, who possesses a full creamy toned soprano that is solid and evenly produced; she even manages tone which scintillates above the staff on occasion. Ideally this role would have a singer of intensely dramatic caliber such as Claudia Muzio or Maria Callas. While Dotto doesn’t quite achieve their level of dramatic incisiveness, hers is a performance which breathes life into the character and makes one anticipate hearing more from this talented singer in the future.
The dual roles of the Pilgrim and Abbot Zosimo, with their two different extremes of temper, were always conceived for the same singer. It is interesting to note that at the premiere in New York these roles were sung by Nelson Eddy, who would go on to make himself remebered around the world by donning a mountie uniform for MGM’s Rose Marie only four years after the Respighi premiere. On this release Simone Alberghini’s rather strained sound makes for moderately tortured listening to the Pilgrim’s music, although the character is an unpleasant one so it is not entirely out of place. For the more gentle nature of the Abbot, Albergini makes more attempt to reign in his voice with better effect overall.
Vincenzo Costanzo’s bright and forwardly placed tenor does well for the smaller roles of the Pilgrim and the Leper. The tiny role of an off-stage angel is sung by the promising soprano voice of Ilaria Vanacore though one wishes she wasn’t quite so distantly placed. Manlio Benzi offers sympathetic support from the orchestra though the orchestral music is the musical equivalent of impressionist tonal washes that don’t really add up to much beyond the two symphonic interludes.
The booklet is what we have come to expect from Naxos and there is a download link for an Italian libretto with English translation.
Mike Parr
Other Cast
First companion – Michele Galbiati (tenor)
Second Companion/ Poor man – Luigi Morassi (tenor)
Blind Woman/ Voice of the Angel – Ilaria Vanacore (sopano)
Voice from the Sea – William Corrò (bass-baritone)
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