Search - Gaetano Donizetti, Gianandrea Gavazzeni, Alberto Carusi :: Donizetti: Belisario

Donizetti: Belisario
Gaetano Donizetti, Gianandrea Gavazzeni, Alberto Carusi
Donizetti: Belisario
Genre: Classical
 
  •  Track Listings (17) - Disc #1
  •  Track Listings (21) - Disc #2


      
?

Larger Image
Listen to Samples

CD Details

All Artists: Gaetano Donizetti, Gianandrea Gavazzeni, Alberto Carusi, Augusto Veronese, Bruno Sebastian, Giovanni Antonini, Giuseppe Taddei, Leyla Gencer, Mirna Pecile, Nicola Zaccaria, Rina Pallini, Umberto Grilli
Title: Donizetti: Belisario
Members Wishing: 0
Total Copies: 0
Label: Opera D'oro
Original Release Date: 1/1/1969
Re-Release Date: 7/18/2000
Genre: Classical
Style: Opera & Classical Vocal
Number of Discs: 2
SwapaCD Credits: 2
UPC: 723723846624
 

CD Reviews

A Great Performance In Perfectly Acceptable Sound
Jeffrey Lipscomb | Sacramento, CA United States | 07/16/2004
(5 out of 5 stars)

"I'm afraid the other reviewer here has seriously misrepresented the sound on this Opera d'Oro CD - perhaps he simply got hold of a defective copy. I have not heard the alternate transfer on deleted Mondo Music 1507, but this one is perfectly acceptable - in fact, it's one of the best-sounding complete Gencer opera recordings. This "live" 1969 performance from Venice has occasional singing off mike - that pretty much goes with the territory - and an enthusiastic and sometimes noisy audience which, to my ears, simply adds to the sense of occasion. There is also a 1970 Gencer "Belisario" from Bergamo on a deleted Hunt CD (with Bruson in the title role), but Gencer is in better voice here."Forgotten masterpiece" is perhaps too grand a description for this opera, but I feel it is one of Donizetti's best efforts. Its relative obscurity is probably attributable to the misfortune of its coming immediately after the composer's genuine masterpiece (Lucia di Lammermoor), which overshadows it. Belisario was a great success when it debuted in 1836 - it ran for 28 consecutive nights. Perhaps another reason for its being eclipsed: there are no love scenes at all.Belisario (Giuseppe Taddei) is a general in the court of Byzantine Emperor Justinian around 600 A. D. who has just won a great triumph over the barbarians in Italy. He is acclaimed by the people, but his wife Antonina (Gencer) curses him based on reports that he has had their own son killed. He releases his prisoners, but one of them, Alamiro (Umberto Grilli) remains at his side as a sort of son substitute. Belisario is later convicted of treason on forged evidence - he confesses to Antonina that he had their son killed, but only because he was commanded in a dream to do so in order to save the Empire.In Act II, Belisario has been blinded, thrown in prison, and ordered into exile. He is led away by his daughter Irene (Mirna Pecile), who is disguised as a boy. In Act III Belisario and Irene take refuge from their wanderings in a cave as troops approach. They overhear Alamiro and another young man planning an attack against Byzantium. Belisario steps forward and denounces their treachery and (surprise!) discovers that the second youth is none other than his son, who was not killed after all (he had been abandoned by the good-hearted servant charged with his death). Belisario proves his loyalty to the state by taking up arms against him. The imperial forces win, but Belisario is fatally wounded in the battle. He dies before his wife can win his pardon. Antonina now knows he was innocent, and laments her actions against him.Well, it's not exactly Shakespeare. But there are some wonderful dramatic moments here. Gencer's opening declamation succeeds in immediately defining her character - and throughout the opera she is simply brilliant. I am not an opera buff - I spend far more time wandering through symphonies and chamber music. But once in a while it is very satisfying to hear a great bel canto singer who can really deliver the goods. Gencer's vocal trademarks - incredibly gorgeous floated pianissamos, superb legato, and some gutsy chest tones - are all on remarkable display here. In the final scene she caps her performance with an astounding, dead center high D that seems to last forever. The other singers are adequate or better (Taddei is a trifle wooly), and Gavazzeni's conducting is fine.At less than the cost of standing room at a provincial opera house, this CD set represents excellent value. No, it's not in stereo, and it has the usual gremlins associated with "pirate" recordings. But all in all, the sound is certainly better than what is heard in the celebrated Callas/Giulini "La Traviata" on EMI. To hear more from this rather fabulous Turkish soprano, you might try one of her "Art of" sets on the Myto CD label, which capture her voice at its freshest (1954-59). Happy listening!"
Strong performance of one of Donizetti's better efforts
R. Broadhead | Southwestern USA | 04/09/2006
(5 out of 5 stars)

"This Belisario is a strong performance of one of Donizetti's better but lesser known efforts. The arias, duets, ensembles and choruses provide continuous and enjoyable music. The storyline, reviewed by others, is really quite nice and interweaves drama, action, emotion, and finally loyalty. Composed directly after Lucia, this opera in combination with Lucia, documents a very creative period in Donizetti's life.

The cast is excellent and Leyla Gencer does indeed sing a magnificent Antonia witha strong well-controlled voice, lots of range, and a delectible timbre. Giuseppe Teddei is a very strong Belisario and Umberto Grilli exhibits his usual creamy voice as Alamiro. Mirna Pecile as Irene holds her own against Gencer. As another reviewer stated, there are no weak links in the cast. The orchestra and chorus of the Teatro La Fenice are excellent as well under the direction of Maestro Gavazzeni

The sound quality of this recording is really quite good. This was a recording of a live performance in Venice on May 14, 1969. Both the orchestra and the singers are all faithfully reproduced in stereo with no distortion or breakup. Although the sound is not quite as "full" as a modern digital recording or the better studio recordings of the 1960's, it is still very good. The audience is lively and enthusiatic but well behaved and there is minimal noise during the sung parts."