Antonio Salieri (1750-1825)
Cublai, gran kan de’ Tartari, Dramma Eroicomico in 2 acts (1788)
Cublai – Mirco Palazzi (bass),
Timur – Anicio Zorzi Giustiniani (tenor),
Alzima – Marie Lys (soprano),
Posega – Äneas Humm (baritone),
Chœur de chambre de Namur
Les Talens Lyriques/Christophe Rousset (piano)
rec. 2024, Studio RIFFX 1, La Seine Musicale, Boulogne-Billancourt, Paris
Full Italian libretto with English translation
Aparté AP379 [2 CDs: 161]
The Aparté label, on this limited-edition release, continues its survey of the complete recordings of Salieri’s operas with Cublai, gran kan de’ Tartari (Kublai ruler of the Tartars) a dramma eroicomico (a heroic-comic drama). This is the world premiere recording of the opera’s original Italian version played by Les Talens Lyriques and conducted by Christophe Rousset.
Italian-born composer Antonio Salieri still gets a bad press primarily due to fictitious accounts of his life. The screenplay by Peter Shaffer for the film Amadeus (1984) directed by Miloš Forman was a box office hit and Oscar® winner. Shaffer was inspired by Aleksandr Pushkin’s 1830 play Mozart and Salieri. Both propagate the notion that the jealous Salieri was responsible for Mozart’s death by poisoning him, which sounds like a typical opera plot. The libretto to Rimsky-Korsakov’s opera Mozart and Salieri (1898) uses Pushkin’s text almost word for word.
Salieri was born in Legnago near Venice. On the death of his parents, the sixteen year old moved to Vienna where he lived until his death aged seventy-four. In his lifetime, Salieri’s reputation was far higher than the younger Mozart; in 1774 Joseph II, the Holy Roman Emperor, chose Salieri as his court composer and in 1788 he was appointed Royal and Imperial Kapellmeister, responsible for music in the whole of Vienna, including opera. He rose to prominence owing to his talent and to no small measure of patronage, securing a highly influential role in Vienna’s music scene. A renowned teacher, Salieri’s pupils included Beethoven, Hummel, Reicha, Schubert and Liszt – an auspicious list indeed.
Salieri clearly relished opera, writing over forty, although not all have survived. Those with the highest number of recordings are Falstaff and Les Danaïdes, yet they are still hardly known. This new release is the fourth complete Salieri opera from the Aparté label conducted by Christophe Rousset to add to its other releases Les Horaces (1786), Tarare (1787) and Armida (1771). Rousset, a Salieri specialist, has also recorded La grotta di Trofonio (1784) on Ambroisie and Les Danaïdes (1784) for Bru Zane.
The opera was described as a Dramma Eroicomico (a Heroic-Comic Drama) a type of opera buffa with several heroic features. The plot concerns Kublai Khan (1215-1294), a Tartar and ruler of the Mongol Empire established by his grandfather Genghis Khan. One might expect an opera about Kublai Khan, the conquering hero and statesman, to be portrayed by serious drama; however, Cublai kan is a comic opera. Casti’s libretto featuring Cublai the ruler of Cathay (China) Is a not very well-hidden, wicked parody of the machinations of the court culture of the European monarchy; in reality, it is the court of the Russian Tsar Peter the Great that is being lampooned. Emperor Joseph II and the Empress of Russia, Catherine the Great were allies and at the time of the Austro-Turkish War (17 88-1791) he did not want to risk embarrassing or damaging relations between the two Empires, so, the opera was withdrawn.
Casti’s libretto centres around Cublai kan, the ruler of the Mongol empire, the first to rule over Cathay. All is not well at Cublai’s palace with courtiers conspiring against him. Cublai requires his son and heir the ‘simple-minded’ prince Lipi, who has been raised by veritable sage Posega, to marry Alzima a Bengali princess. Alzima considers Lipi stupid and is in love with Timur, his nephew. All’s well that ends well as Timur is chosen as the next ruler of Cathay, and he and Alzima are betrothed. This leaves Lipi to resume instruction with his mentor Posega.
It took over two hundred years for Cublai, gran kan de’ Tartari to receive its premiere with a 1998 production given at Würzburg with a German libretto. In 2024, Martin G. Berger directed an Italian language production with the title Kublai Khan, in Vienna at the MusikTheater an der Wien described as ‘a world premiere in Italian’. Berger and his dramaturgist Philipp Amelungsen reworked the opera considerably including adding a speaking part for Salieri. From what I have seen on video excerpts the set and the costumes switch back and forth in time from Kublai Kahn’s palace to a modern-day office of a manufacturer of chocolate bon-bons. It appears that the reception from the audience was mixed.
Conducted by Christophe Rousset, the collaboration between Salieri’s music and Casti’s text comes together coherently and the performance flows convincingly. Rousset presides over a worthy performance from his musicians and chorus bolstered by an impressive cast of eight soloists.
In the title role of the Mongol Emperor Cublai is Rimini-born bass Mirco Palazzi. Standing out is Cublai’s act one aria Vien qua, figliuola mia where the ruler, captivated by Indian princess Alzima, says forget your father, you are my daughter now. There is an authority to Palazzi’s voice together with his well-produced, dark tinged tone. Making her mark as Princess Alzima is Lausanne soprano Marie Lys displaying her bright, warm and agreeable tone. Most enjoyable and achieving her coloratura confidently is her upbeat Act Two aria Fra i barbari sospetti, expressing how she can now breath freely again.
Florentine tenor Anicio Zorzi Giustiniani gives a confident performance as Cublai’s nephew Timur. In the aria Quando a colei che adoro from act oneTimur explains the sensation of love he felt when he first met Alzima. This is lovely singing from Giustiniani , who attains his high notes with relative ease. Salieri and Casti created a trouser role for Lipi as Cublai’s son, sung by soprano Lauranne Oliva, who describes her heritage as Franco-Catalan. In Lipi’s cavatina Act One Cavallo, cavallo the young man is playing around with a hobbyhorse and Oliva performs displaying her bright tone and child-like enthusiasm.
The role of high priest Posega, the tutor of Lipi, is taken by Zurich baritone Äneas Humm.
From Act Two Posega’s aria Di questa reggia indegna is where he advises that only he should be listened to. Humm sings well and clearly, producing pleasing drama. Baritone Fabio Capitanucci from Sabaudia sings Orcano who is the senior courtier. In Orcano’s aria M’inganno, se vedo from act two he exclaimshow he is not able to think straight anymore. With dignified and effective singing Capitanucci is ideal for the role of the dutiful master of ceremonies.
The role of Memma, a European and a favourite of Cublai, is taken by Lisbon soprano Ana Quintans. Displaying her clear and well-focused voice, most enjoyable is Memma’s act two aria Ascolta, figlia cara as she reflects on her mother’s words not to interfere in other people’s business. Bozzone, the husband of Memma, has a rewarding aria in act two Come il medico al polse conosce. Sung by Monfalcone-born baritone Giorgio Caoduro, Bozzone boasts he is a cunning old fox who knows how to read women. Dusky voiced Caoduro sounds assured complete with splendid diction and a satisfying level of expression.
Les Talens Lyrique, comprising just under forty musicians, is in simply magnificent form. I notice that Rousset plays pianoforte in the basso continuo. In the choral sections the twenty-four strong Chœur de chambre de Namur flourishes under the direction of choir master Thibaut Lenaerts.
The sound engineers for Aparté excel provide a clear and well-balanced sound. As usual for this Aparté series of operas, the notes, synopsis and essay are exemplary. In the accompanying hard back booklet, the full Italian libretto is provided with the English translation alongside.
This most impressive recording deserves significant acclaim. An opera forgotten for over two hundred years, Cublai is finally receiving its long overdue time in the spotlight.
Michael Cookson
Other Cast
Orcano – Fabio Capitanucci (baritone),
Bozzone – Giorgio Caoduro (baritone),
Memma – Ana Quintans (soprano),
Lipi (trouser role) – Lauranne Oliva (soprano)
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