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Fedra
Sometimes operas are obscure for a reason, and sometimes they are Fedra. This is a real diamond in the rough, a simmering, shamelessly melodramatic tragedy that honors its roots in Greek tragedy without getting bogged down in bathos. The title role, that of an Athenian Queen who destroys her stepson Ippolito after he rejects her love, dominates the opera totally and provides an ideal showcase for the great soprano Régine Crespin. From her commanding pronouncements in act one (which ends with her ritualistically sacrificing her rival) to the mad scene that closes the opera, Crespin delivers a performance of startling intensity. With the exception of the great basso Nicola Rossi-Lemeni, who is gripping in a lengthy third act monologue describing the death of Ippolito, the other singers don't get much of a chance to shine. Gastone Limarilli is an attractive, light-voiced Ippolito and Dino Dondi is gruff and thunderous in the brief but important role of Fedra's husband. The sound is generally pretty good for 1959, though the quality varies. Thankfully, the quality of the opera does not.
Track List
Act I
1. Prelude
2. Alzate il capo
3. O Tanato, la luce e ne' tuoi occhi!
4. Tu puoi piangere ancora!
5. O Totanide figlia del Re d'Isole
6. Ancor da compiere, ospite regina
7. Dea, che vuoi tu dunque da Fedra?
8. Dolce a chi non teme di baciarla
2. Alzate il capo
3. O Tanato, la luce e ne' tuoi occhi!
4. Tu puoi piangere ancora!
5. O Totanide figlia del Re d'Isole
6. Ancor da compiere, ospite regina
7. Dea, che vuoi tu dunque da Fedra?
8. Dolce a chi non teme di baciarla
Act II
9. Fedra! Fedra! Rodia, Rodia
10. È vero, È vero! Ho fatto un sogno
11. Filgio dell'Argonauta, vuoi tu mille navi?
12. Uomo, e il nepente?
13. Dove fui? Quale mai sogno?
14. Fedra, che covi?
15. Ebro di forzamente era
10. È vero, È vero! Ho fatto un sogno
11. Filgio dell'Argonauta, vuoi tu mille navi?
12. Uomo, e il nepente?
13. Dove fui? Quale mai sogno?
14. Fedra, che covi?
15. Ebro di forzamente era
Act III
16. O Giovinezza, piangi
17. Ippolito, oh Ippolito più caro
18. Il cavallo tenuto era dagli uomini
19. Si, madre. Madre, t'obbedisco
20. Distruttore d'Antiope e d'Ariadne
21. Filgia di Pasifae, Fedra vertiginosa
17. Ippolito, oh Ippolito più caro
18. Il cavallo tenuto era dagli uomini
19. Si, madre. Madre, t'obbedisco
20. Distruttore d'Antiope e d'Ariadne
21. Filgia di Pasifae, Fedra vertiginosa
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4.5
Based on 2 reviews
✓ Top Reviewer
Germany
✓ Top Reviewer
United States
Crespin gives it life
Ildebrando Pizzetti's favored compositional idiom was of gloomy, atmospheric, antiquarian but ultimately unmemorable period pastiche. "Febra" is a prime example. One could trade it in for the Phaedra recitation in Cilea's "Adriana Lecouvreur" and come out ahead musically. Still, when Regine Crespin is singing she convinces one that "Fedra" is almost first-rate stuff. Unfortunately for the opera, Phaedra is offstage for most of the third act and interest sags accordingly. In this well-recorded broadcast (save for a bad patch near the beginning), Gianandrea Gavazzeni gives it his all in the pit but no one in the cast comes close to Crespin in the vocal disaster. Dino Dondi's long-winded ranting as Teseo, the wronged husband, is capably done by Nicola Rossi-Lemeni is too shuddery for acceptability and the supporting women are all insufficient. Strictly for Crespin fans and Gavazzeni devotees.
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