The Bel Canto renaissance of the 1950s and 60s holds immense significance, not only for reviving overlooked gems but also for providing insight into how Giuseppe Verdi found his voice. Belisario is one such work, showcasing many conventions that Verdi would later refine in his own operas.

For instance, the second scene depicts the title character returning from war with spoils and prisoners, only to plead for their release. Sound familiar? It brings to mind the themes of a certain Egyptian opera. Additionally, Belisario incorporates elements of nationalism that would become central to Verdi’s works, as well as a poignant father-son reunion, reminiscent of Simon Boccanegra, hinting at the possibility that Verdi’s recurring exploration of such reunions stemmed not only from his personal loss but also from the established conventions of the bel canto dramatic form.

Giuseppe Taddei brings majesty and virile tone to the title role, offering a performance rich in authority and nuance. Leyla Gencer, as Antonina, highlights Donizetti’s evolving style. Her character represents a shift away from the light-hearted Norinas and Adinas and ventures into darker, more dramatic territory, nearing the realm of Lady Macbeth. Gencer’s voice is lush and expressive, combining flawless coloratura with an astonishing final scene.

A powerful and illuminating performance of a pivotal bel canto masterpiece.