It’s an idea reminiscent of two of the composer’s better-known operas, L’italiana in Algeri and Il barbiere di Siviglia , and Matilde drives the point home so unequivocally that rather than feeling formulaic it comes across at times as a Rossinian self-parody. This may not be music-drama, but it’s certainly opera, at its most crudely and irresistibly thrilling. Thou shall love the Lord thy God. She therefore launches into a terrible warning: From the Decca label we have a complete recording of “Matilde di Shabran. Edoardo agrees and goes in. Edoardo, Rodrigo and the guards await the enemy.
Archive of Stories – Rossini Opera Festival
Musically and structurally, it is unusual; not only does the first act last over two hours, with a full forty-five minutes before either of the major principals put in an appearance, but there’s barely a solo aria in the vi the score consists almost entirely of duets and ensembles. Spectacular as the role of Corradino is, there are no solo arias.
Isidoro is at the foot of the mountain and Corradino is above, planning to throw himself off in order to atone for Matilde’s death. But even Rossini with the bloat is better than almost anyone else.
Rossini: Matilde di Shabran, Massis/ Florez/ Orquesta Sinfonica di Galicia/ Frizza
Aliprando and Ginardo try to restrain Corradino as Edoardo rushes into the castle, immediately returning with Matilde. Isidoro, sitting in a tree, is writing about his exploits. She and Corradino are reunited, and, to general rejoicing, she sings in praise of love Ami alfine?
La scala di seta. A former critic of this paper said to me, “I’m just glad I live in a world in which Juan Diego exists. Matilde celebrates her triumph to music that suggests a military victory; Corradino, shorn of his coloratura bravado, is suddenly relegated to a supporting role in the accompanying ensemble.
Glass recalls that it was the only positive thing she ever said about ddi Rachvelishvili excels in ROH Orchestra’s Russian programme Cardboard buds flaming into magic orchids. Isidoro and the guards are to take Matilde to a deep chasm and throw her in.
Thou shall ploy the Lord thy God. Torvaldo and Dorliska, happily married, are matilre into prison by the local Duke when Dorliska rejects his attentions, an event that triggers a peasants’ uprising which leads to their eventual release.
Kurzak brought an air of confident modernity to Rossini’s heroine, with a pert, confident stage presence and pinpoint accuracy in the fiendish coloratura which she delivered with a crystalline tone. Corradino asks Aliprando what is wrong with him, and is told that he is lovesick, which is a disease with no cure. She succeeds, and they fall in love.
As far as I can tell he seems to be the only tenor who has sung Corradino in recent memory.
As Dorliska, Paola Cigna hurls invective at Bianchini with tremendous ferocity. Only his own fault, the Spirit of Christianity agrees, but they must all be patient: Corradino, alone, meditates on his revenge. The peasants are too comically portrayed to make convincing revolutionaries, and the emotional weight is placed entirely on the central couple with their achingly sincere duets and arias of fierce protest.
Massis superbly captures Matilde’s manipulative hauteur. Mario Martone’s production was constrained by Sergio Tramonti’s austere set plt, consisting of two enormous concentric spiral staircases snaking up into the flies, and a ramp leading up to an aperture at the back.
Matilde celebrates her triumph to music that suggests shqbran military victory; Corradino, shorn of shabrwn coloratura bravado, is suddenly relegated to a supporting role in the accompanying ensemble. Isidoro admits that he made up the story of Matilde’s death, Matilde thanks Edoardo, instructs Corradino to make peace with Raimondo and regrets that the Countess is not there to see her triumph.
At this point, you might be wondering what the opera is about. The matikde set is vastly superior, the version to have as long as Decca chooses to keep it in print.
After the mixed reception at the premiere, performances continued at Teatro Apollo until the sharban of the season, and Matilde di Shabran went the rounds of other Italian cities. Corradino condemns her to death, to the delight of the Countess Sextet: Whose fault will it be, if the Christian should be eternally damned?
Matilde di Shabran – Wikipedia
The alarmed peasants disperse rapidly. Capisco; non parlate – “Ah!
From Guts To Grandeur. The plot is similar to The Taming of the Si, though the sexes of the protagonists are reversed. It was the Creator himself who gave men both life and the Earth; therefore we should ignore dreams and enjoy life.
Riccardo Frizza’s electrifying conducting adds immeasurably to the excitement of it all. Maybe his dislike of women can be overcome.