Giuseppe Verdi (1813 – 1901)
I Lombardi alla prima crociata (1843)
Giselda, Nino Machaidze (soprano); Oronte, Pierro Pretti (tenor); Pagano, Michele Pertusi (bass)
Chor des Bayerischen Rundfunks
Münchner Rundfunkorchester/Ivan Repušić
rec. live 23 April 2023, Prinzregententheater, Munich
Synopsis in German and English enclosed.
Reviewed as download from press preview.
BR Klassik 900351 [2 CDs: 125]
The tremendous success of Nabucco, premiered on 9 March 1842, triggered the management of La Scala to search for a story along the same lines. “A dash of religion, a dash of patriotism, two peoples at war, and a family conflict would be the ingredients” say the liner notes, and patriotism was especially topical at a time when risorgimento, the unification of Italy, was high on the agenda. Naturally the Milanesi identified themselves with the Lombardian crusaders and the new opera became another triumph for the young composer at its premiere on 11 February 1843, and it continued to be favoured by the audiences for several years. It was the first Verdi opera to be heard in the United States in 1847, but after the three operas Rigoletto, Il trovatore and La traviata swept the board in the beginning of the 1850s, it faded away and its transformation into French, Jérusalem, has never really gained a foot-hold in the repertoire either.
It has to be said that it is an uneven work in several respects. The libretto is far from a masterwork and even though there are several numbers of high quality, others are commonplace and even banal. However, Verdi in less than sterling form is never totally uninteresting, and just as in Nabucco, he is at his most inspired in several of the choral pieces. The lively and spirited chorus that follows immediately after the gloomy prelude is certainly attractive, and so is the serene nuns’ chorus, also in the first act. The opening chorus of the second act upholds the standard and in the third act the big Gerusalem!, beginning with the pilgrims singing a cappella, has claims to be his choral masterwork. In the last act, the mysterious Chorus of the celestial spirits is a winner, and of course the lovely O Signore dal tetto natio, the equivalent to Va, pensiero in Nabucco, stirred up the patriotic feelings of the Milanesi. All these choruses are excellently performed by the Bavarian forces – who also do what they can with some rather empty pieces that we have to endure. The orchestra – and especially the unfairly unnamed leader – also excels in the prelude to the final scene of Act III, which in practice is the slow movement from a violin concerto. Ivan Repušić, who has made several recordings of Italian operas with these forces for BR Klassik, is a reliable guide through this early Verdi score. The recording is excellent, and though it was set down at a concert performance, there are no extraneous noises and no applause.
I reviewed two live recordings of I Lombardi four or five years ago (review) (review) and had positive things to say about the choral singing on both, which of course is important in this particular opera. The hang-up in both was the solo singing. The second of those, conducted by Marcus Bosch, had a trump card in Polish soprano Ania Jeruc as Giselda, which is a big role, but otherwise the outcome was meagre. When I saw the cast list for the present issue, I had high expectations. Three names made my mouth water. Georgian soprano Nino Machaidze was a sensation a dozen years ago and catapulted to stardom, an exclusive recording contract with Sony and invitations to all the big houses. I bought the third of her three recital discs, and it was great. She was then not yet thirty, and consequently she is not yet forty. She has added some heft and in the quintet with chorus in the first act she sails effortlessly on top of the ensemble and the beauty of her tone is just as lovely as it was ten years ago – but she has also added something less enticing: a heavy vibrato. In the ensemble it doesn’t irritate me, but in her solo singing it is disturbing. Giselda’s prayer, Salve Maria, in the first act, one of the most beautiful arias, is almost ruined – and all through the performance this persists. I do admire her involvement and heroic intensity; her coloratura technique is impeccable – but that unwanted vibrato spoils everything. I know that vibrato is something that divides opinion, and probably I could have stomached it, to some degree anyway, when hearing her in the flesh, but as recorded here, it jars.
Michele Pertusi has been a mainstay in the bass department for many years, and his authority and expressivity is still undiminished, but now, in his late fifties, his tone is worn and shaky. As Pagano he is, in spite of this, a believable character – and he is a good actor.
Tenor Piero Pretti was an attractive Manrico in Il trovatore some years ago, where I noted his willingness to find nuances even in a role that has tempted many a tenor to try to break through the sound barrier. Less than a year ago I also reviewed a Cavalleria rusticana, where he was less imposing in the first half but was revitalised after the Intermezzo. As Oronte, he makes a good stab at La mia letizia infondere with great care for nuances, but the highest notes are pinched and the vibrato too wide. In fact, I find that the other tenor, Galeano Salas who sings Arvino, is more successful. His is a lyrical voice, but he musters considerable power in the last act.
This leaves us with three fairly recent recordings, none of which is ideal. Which one to choose? My advice is to search out either of the two recordings with Lamberto Gardelli: the oldest, from the 1970s, (orig. Philips now Decca) with Deutekom, Domingo and Raimondi; the latest, from the late 1980s (Hungaroton) with Sylvia Sass, Giorgio Lamberti and Kolos Kováts. They are available only as downloads, the Decca is cheaper, only half the price of the Hungaroton, but that has the best Giselda.
Göran Forsling
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Other cast:
Viclinda, Réka Kristóf (soprano); Arvino, Galeano Salas (tenor); Pirro, Miklós Sebestyén (bass-baritone); Sofia, Ruth Volpert (mezzo-soprano); Prior of Milan, Nikolaus Pfannkuch (tenor); Acciano, Andreas Burkhart (baritone)
