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Naxos4
Donizetti: Alfredo il Grande
Antonino Siragusa and Antonio Garés, tenors; Gilda Fiume, soprano; Valeria Girardello, mezzo-soprano; Lodovico Filippo Ravizza, baritone; Adolfo Corrado, bass; Hungarian Radio Choir; Donizetti Opera Orchestra, Corrado Rovaris, conductor
Naxos Records, 2025
In 1823, the 25-year-old Donizetti made his debut on one of Italy’s greatest stages, the Teatro San Carlo in Naples, with his opera Alfredo il Grande. His illustrious predecessor Rossini had just left the city after several triumphs, and the pressure was on for the newcomer who had big shoes to fill.
Neapolitan audiences didn’t take kindly to this opera about the battles of an English king under threat of invasion by Danish enemies. Indeed, it was performed only once before disappearing for two centuries. Donizetti was more successful later with his other operas based on English history, notably his Tudor queens trilogy.
In 2023, the Festival Donizetti, in the composer’s hometown Bergamo, provided a chance to revise the harsh judgment of early audiences. The production, with its very simple set, has already appeared on DVD. The audio version reveals music influenced by Rossini, but overflowing with youthful vigour and joy. Lovers of Donizetti will recognize a theme which was to become the famous aria “Chacun le sait,” from La fille du régiment.
The libretto was deemed a bit simplistic in its time, but it contains very effective moments of drama, with no dead time. Each character has a chance to show nobility, courage and bravery in both action and song. Full-blooded cavatinas, uplifting cabaletti, vibrant choral numbers—in short, all of Donizetti is present and there’s never a dull moment.
Out of a very concentrated score, the most memorable parts are the ensembles—including a very accomplished trio and quintet. Alfredo’s arias, sung by tenor Antonino Siragusa, are good, too, one having a captivating clarinet obbligato. The finale is equally outstanding: an impressive rondo sung by soprano Gilda Fiume as Queen Amalia, accompanied by a small orchestra on stage as well as the larger one in the pit, making for an original sound experience.
Though it could be smoother, the recording’s sound conveys the urgency of this performance where all the singers must have been rather nervous. As King Alfred, Siragusa perhaps doesn’t have the ideal voice for a role that requires more strength, but he comes out of it well thanks to his virtuosity. His partner, Fiume, is more suited to her role, with a broad range and mastery of the ornaments. As for the Danish enemy Atkins, sung by Adolfo Corrado, he is so wicked he’s not allowed a single aria!
Translation: Cecilia Grayson
This page is also available in / Cette page est également disponible en:
Francais (French)
