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Francesca da Rimini
Within the realm of Italian opera, Francesca da Rimini defies traditional classification. While Riccardo Zandonai's melodic style aligns with the traditions of Verdi and Bellini, and his orchestration rivals the invention of Puccini, there is a touch of modernism in this opera that diverges from the verismo movement.
More than any other Italian opera, it evokes comparisons to Pelléas et Mélisande with its symbolic and dream-like quality. The central conflict of brothers vying for the same woman only deepens the resemblance.
For this opera to succeed, it requires a soprano of the highest caliber, and Elena Souliotis delivers on every front. The relaxed tessitura complements her shopworn voice, allowing her to recapture the ease of tone that defined her early years. Freed from technical strain, her dramatic flair shines brilliantly. Giorgio Merighi brings an attractive, masculine voice to the role, making the nickname "il bello" feel entirely fitting. Piero Guelfi is a commanding presence as Gianciotto, while Oliviero de Fabritiis masterfully highlights Zandonai's intricate orchestration.
Track List
Act I
1. O Donnella, Donella, c' è il giullare
2. Che fai qui, manigoldo?
3. Oimè che adesso io provo che cosa è troppo amore
4. Francesca, dove andrai?
5. O Madonna Francesca!
6. Chi ho veduto?.. Portami nella stanza
2. Che fai qui, manigoldo?
3. Oimè che adesso io provo che cosa è troppo amore
4. Francesca, dove andrai?
5. O Madonna Francesca!
6. Chi ho veduto?.. Portami nella stanza
Act II
7. È ancora sgombro il campo del comune?
8. Viva Messer Malatesta e la Parte Guelfa!
9. Per Dio, gente poltrona
10. È dolce cosa rivedere la vostra faccia
11. Sciagura! Non vedete?
8. Viva Messer Malatesta e la Parte Guelfa!
9. Per Dio, gente poltrona
10. È dolce cosa rivedere la vostra faccia
11. Sciagura! Non vedete?
Act III
12. E Galeotto dice: "Dama, abbiatene pietà."
13. Abbiamo i sonatori per la canzone e ballo
14. Deh creatura allegra, conduci, questa danza
15. No, Smaragdi, no! Va, va corri e digli che non venga!
16. Inghirlandata di violette m'appariste ieri
17. Ah la parola che i miei occhi incontrano!
13. Abbiamo i sonatori per la canzone e ballo
14. Deh creatura allegra, conduci, questa danza
15. No, Smaragdi, no! Va, va corri e digli che non venga!
16. Inghirlandata di violette m'appariste ieri
17. Ah la parola che i miei occhi incontrano!
Act IV
18. Perchè tanto sei strano?
19. Mia cara donna, voi m'attendevate?
20. Torna Malatestino. Io non voglio verderlo.
21. Malatestino. Vieni.
22. O Biancofiore, piccola tu sei!
23. E così vada s'è pur mio destino!
19. Mia cara donna, voi m'attendevate?
20. Torna Malatestino. Io non voglio verderlo.
21. Malatestino. Vieni.
22. O Biancofiore, piccola tu sei!
23. E così vada s'è pur mio destino!
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4.8
Based on 5 reviews
✓ Verified Buyer
United Kingdom
✓ Top Reviewer
United States
Passionate Performance of a Passionate Opera!
This is a steamy performance of a truly beautiful work that is not really verismo despite its composition date. Souliotis makes an ardent Francesca. She has little difficulty with the vocal line, soaring to an exciting top C at the end of Act One. She is never afraid of the melodrama, but doesn't overdo it either. Merighi matches her in passion and the two make a hot pair of lovers. Guelfi (related to Gian Giacomo Guelfi?) roars ferociously as Gianciotto and Franco Ricciardi is a slimy Malatestino. De Fabritiis knows how this music should go. Everyone in the supporting cast is equally good. That they're all native Italians doesn't hurt.The sound is very good. Souliotis and Francesca fans need this!
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✓ Top Reviewer
United States
Unlikely triumph for Suliotis
Elena Suliotis' take-no-prisoners singing technique and the gentler demands of Zandonai's Francesca would, on paper, seem a mismatch. Not so. Suliotis moderates her approach, singing with a softness and delicacy not commonly associated with her work. Giorgio Merighi is everything one could ask for in a Paolo, while Piero Guelfi's gnarled, nasty baritone finds an ideal outlet as Gianciotto. Conducting with appropriate fervor, Oliviero de Fabritiis eschews most of the routine cuts commonly inflicted upon Zandonai's masterpiece. Only a crabbed Biancofiore mars the proceedings. The sound is excellent.
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✓ Top Reviewer
United States
Francesca da Rimini is an
Francesca da Rimini is an opera that requires a bit of work on the listener. Once one puts in the background work the opera is very satisfying. This live performance is interesting. The sound can't compete with the studio recordings but the orchestra is good and the conducting captures the essence of the piece. The supporting cast is good. Guelfi and Ricciardi are strong singing actors so their performances come vividly to life. Merighi is very strong as well. He is the right kind of voice for the part and he sings it expansively. Souliotis, near the end of her short "major" career is in far better voice than most people think of her late performances. As always, there are some many very beautiful (almost sweet moments) along with some really thrilling singing (and some singing that is not that wonderful). With Souliotis, for me, you get excitement and great musicality. For the most part the voice fulfills her intent. For Souliotis fans, this recording is a must.
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✓ Verified Buyer
Rock
I don’t think Andy has been quite accurate in describing this recording.Souliotis doesn’t sound “shopworn” to me. She sounds exciting. And thesound is better than “Very good”.I wonder how many people told the young Souliotis she was going to ruinher voice by singing all those heavy roles. Anyhoo, in addition to thewonderful London/Decca recordings of her youth, she recorded Il Tritticoabout 20 years ago with Mirella Freni in the soprano roles.
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