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Edipo Re
After establishing himself as a key figure in the verismo movement at the close of the 19th century, Ruggero Leoncavallo turned his attention to the 20th century and the Greek revival movement that had so profoundly influenced Richard Strauss—and later Igor Stravinsky, whose own Oedipus Rex became a landmark of modernism. It is remarkable that these two composers tackled the same subject only seven years apart, as their approaches could not be more different. Leoncavallo's opera is quintessentially Romantic, incorporating touches of 20th-century harmonies, while Stravinsky deliberately distances the listener from the drama by setting his work in Classical Latin.
Leoncavallo's version remains the more immediately accessible, capturing Oedipus's ultimate anguish in a raw and visceral way, creating a striking showcase for a great baritone. In this performance, that role is masterfully taken on by Mario Basiola, who navigates its formidable demands with both assurance and intensity. Previous versions in circulation were under pitch and contained breaks in the recording. We have corrected these issues.
Track List
1. Ahi! Ahi! Liberator!
2. Padre che vede i figli doloranti
3. A voi Tebani intanto che si parla!
4. Tu sei dinanzi al Re!
5. Ah! Tu non vedi con quanta strage inesorabile
6. La Regina! Giocasta!
2. Padre che vede i figli doloranti
3. A voi Tebani intanto che si parla!
4. Tu sei dinanzi al Re!
5. Ah! Tu non vedi con quanta strage inesorabile
6. La Regina! Giocasta!
7. Sire! Smarrita io sono riguardo
8. Edipo! Edipo! Non temere, il pastore verrà
9. Ditemi o buoni: dov'è la Reggia del Sire Edipo?
10. Al Re il pastore!
11. O notturne orrenda, o notturne eterna
8. Edipo! Edipo! Non temere, il pastore verrà
9. Ditemi o buoni: dov'è la Reggia del Sire Edipo?
10. Al Re il pastore!
11. O notturne orrenda, o notturne eterna
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4.0
Based on 1 review
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Sweden
Not great but interesting as opera history
This hour-long opera deals with the same events as Stravinsky's Oedipus Rex. I found an Italian libretto on the Net, and I believe this background is essential for enjoying the opera. There is a lot of declamation and not much of interest for lovers of bel canto or music as such. It has even been suggested that the opera, which had its premiere postumiously in Chicago with Titta Ruffo, was mostly written by some other Italian maestro in order for Leoncavallo's widow to be able to get paid for a commission he never completed.I was interested to hear Basiola in a "histrionic" part during his best years - remember, this is 1939. Corsi, better known for some complete opera recording from the 1950s, is young and almost too fresh for Jocasta who of course should be at least twenty years older than Edipo. The others don't have that much to sing, but Parmeggiani seems to have been a more important tenor than his meagre discography indicates, and here we can at least get a vivid impression of him.Sound is very good for 1939. From what I read the few later recorded Edipo Re are not very impressive either as performance or sound, so if you are curious about this I think you should hear it. At least if you can get the text of if your Italian is good enough to listen without a libretto.
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