Small picture of Donizetti

 

 

 

 

 

 

 Introduction

Until about 50 years ago, Donizetti’s reputation and place in the international opera repertoire rested largely on three operas: Lucia di Lammermoor, Don Pasquale and L’elisir d’amore.  Since then many of his remaining nearly 70 operas have been produced, the exact number being difficult to give because of the reworking of several of them into other operas.  Thus, on being banned in Naples, Maria Stuarda had to be rapidly reworked as Buondelmonte, while others received quite substantial revision, such as Lucia di Lammermoor becoming Lucie de Lammermoor for the French stage.

 

The following lists the librettist, date of composition, opera type and first performance, as well as mentioning some typical modern recordings or those of historical or other significance.   Some, particularly the historical ones, may have been released on different labels from that cited.  The Recordings page lists more recent releases of recordings of Donizetti and his contemporaries’ works and http://www.operadis-opera-discography.org.uk/ (built by Brian Capon) is a gold mine of information on recordings of Donizetti's and others' operas.

Donizetti also wrote some religious works and orchestral, chamber and piano music.  Some details of these can be found on the Recordings page  and the Scores page .

http://www.magiadellopera.com/donizetti-opere.html includes a short history and synopsis of all Donizetti's operas (in Italian)

Further web sites for Donizetti and for other composers of this era can be found here and for sites of more general operatic interest here.  

 

Donizetti's Operas

 

Operas: 1816-1825   Il Pigmalione to Alahor in Granata

Operas: 1826-1829   Elvida to Il diluvio universale

Operas: 1830-1833   Imelda de'Lambertazzi to Lucrezia Borgia

Operas: 1834-1838   Rosmonda d'Inghilterra  to Poliuto/Les Martyrs

Operas: 1839-1843   Le Duc d'Albe/Il Duca d'Alba to Dom Sébastien

          

        1816 -1825

Il Pigmalione  (1816), one act opera

Librettist:   Adapted from A. S. Sografi

First performed:  Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo.

Recordings:  The Golden Age of Opera EJS – 296 D (LP) is a live recording of that production.  Bongiovanni GB 2109/0-2  is a more modern performance and includes fragments from 2 early, probably uncompleted, Donizetti operas,  L’Olimpiade and La bella prigioniera as well as the much later one act opera buffa Rita. 

 

L'ira d'Achille  (1817), fragments

Librettist:   Scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini.

First performed: Possibly at Bologna where he was studying.  First modern performance in Bergamo, 1998.

Recordings: Live 1998 performance from Bergamo available on Celestial Audio CA483

 

Enrico di Borgogna  (1818), opera semiseria

Librettist:   Bartolomeo Merelli 

First performed: November 14, 1818 at Teatro San Luca, Venice.

Recordings:  A recording of the first modern revival of the opera at Vadstena is now available on Celestial Audio CA 1397. Enrico’s Act 1 entrance aria sung by Della Jones is included in A Hundred Years of Italian Opera, 1810-1820, Opera Rara  ORCH103.  The same recording is also included on Della Jones sings Donizetti, Opera Rara, ORR 203 and The Young Donizetti, Opera Rara ORR 299. 

 

Una follia  (1818), farsa, score and libretto have been lost.

Librettist:   Bartolomeo Merelli 

First performed: December 15, 1818 at Teatro San Luca,Venice.

Recordings:  None

 

Le nozze in villa  (1819), opera buffa

Librettist:   Bartolomeo Merelli  

First performed:  During Carnival 1820-21 at Teatro Vecchio, Mantua.

Recordings:  None known but one number is included on The Young Donizetti, Opera Rara ORR 299.  

 

Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), opera buffa

Librettist:   Gherardo Bevilacqua-Aldobrandini 

First performed: December 26, 1819 at the Teatro San Samuele, Venice.

Recordings: Live Martina Franca 2004 performance on Dynamic CDS 473. The Act 2 sextet is included in A Hundred Years of Italian Opera, 1810-1820, Opera Rara ORCH103.  

 

Zoraida di Granata  (1822), opera seria

Librettist:   Bartolomeo Merelli   

First performed:  January 28, 1822 at the Teatro Argentina, Rome.

Recordings:  Opera Rara, ORC 17. It also includes pieces written for the 1824 revision of the opera.  

 

La zingara  (1822), opera semiseria

Librettist:   Andrea Tottola 

First performed: May 12, 1822 at the Teatro Nuovo, Naples.

Recordings:  Dynamic  CDS 396/1-2.   Live performance from Festival della Valle  d’Itria, Martina Franca

 

La lettera anonima  (1822), farsa

Librettist:   Giulio Genoino 

First performed:  June 29, 1822 at the Teatro del Fondo, Naples.

Recordings:  On Stage 4702 and on One for you label,  1972 live recording from Naples with Panerai.

 

Chiara e Serafina (also known as I pirati) (1822), opera semiseria

Librettist:   Felice Romani 

First performed: October 26, 1822 at La Scala, Milan.

Recordings:  None known but one number is included on The Young Donizetti, Opera Rara ORR 299. 

 

Alfredo il grande  (1823), opera seria

Librettist:   Andrea Tottola 

First performed:  July 2, 1823 at the Teatro San Carlo, Naples.

Recordings:  None known.   Della Jones sings an aria from it on Della Jones sings Donizetti,  Opera Rara, ORR 203 and Bruce Ford also on Romantic Heroes, Opera Rara ORR 201 and on The Opera Rara Collection, Volume 2, ORR 209.

 

Il fortunate inganno  (1823), opera buffa

Librettist:   Andrea Tottola 

First performed:  September 3, 1823 at the Teatro Nuovo, Naples.

Recordings:  Dynamic CDS 228/1-2. Live performance from Festival della Valle d’Itria, Martina Franca 

 

L’ajo nell’imbarazzo (1824), opera buffa  (also known as Don Gregorio)

Librettist:   Jacopo Ferretti 

First performed: February 4, 1824 at the Teatro Valle, Rome.

Recordings:  Melodram MEL 152 (LP).  Live performance (October 30, 1957) from Bergamo.

 

Emilia di Liverpool (later revised as L’eremitaggio di Liverpool) (1824), opera semiseria

Librettist:   not known, later revision by Giuseppe Checcherini 

First performed: July 28, 1824 at the Teatro Nuovo, Naples.

Recordings:  Opera Rara ORC 8.  Includes both the original and the revised version.  There is a rather curious recording on VOCE-30 (LP), of the revised version broadcast on September 8, 1957 for the 750 th anniversary of the granting of Liverpool’s charter.  It has a spoken commentary by Bernard Miles and its main claim to fame is a young Joan Sutherland as Emilia.  

 

Alahor in Granata  (1825), opera seria

Librettist:   Initials M.A 

First performed:  January 7, 1826 at the Teatro Carolina, Palermo.

Recordings:  1998 concert performance on Alma Viva DS 0125.

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        1826-1829

 

Elvida  (1826), opera seria

Librettist:   Giovanni Schmidt 

First performed:  July 6, 1826 at the Teatro San Carlo, Naples.

Recordings:  Bongiovanni  GB 2370-2,  Opera Rara ORC 29. The latter includes the aria for Alfonso.

 

Gabriella di Vergy  (1826, revised 1838), opera seria

Librettist:   Andrea Tottola 

First performed:  Original version in November 29, 1869 at the Teatro San Carlo, Naples.  Revised version in August 1978 for Opera Rara recording, London

Recordings:  Opera Rara ORC 3.

 

Olivo e Pasquale  (1826), opera buffa

Librettist:   Jacopo Ferretti 

First performed:  January 7, 1827 at Teatro Valle, Rome.

Recordings:  Bongiovanni GB 2005/7.

 

Otto mesi in due ore (also known as Gli esiliati in Siberia)  (1827), opera romantica. There is also a revised French version Élisabeth, ou la fille de l'exilé, see here for an article on the interrelationships.

Librettist:   Domenico Gilardoni  

First performed:  May 13, 1827 at the Teatro Nuovo, Naples.

Recordings:  Actes Sud  OMA 34108.

 

Il borgomastro di Saardam  (1827), opera buffa

Librettist:   Domenico Gilardoni 

First performed: August 19, 1827 at the Teatro del Fondo, Naples.

Recordings:  Myto 991202.  Recording of a performance done in Zaandam (Saardam) in 1973.

 

Le convenienze ed inconvenienze teatrali  (1827, revised in 1831), farsa.  Nowadays opera companies, particularly outside Italy, sometimes try to give it a snappier title, one of the most popular being Viva la Mamma.

Librettist:   Gaetano Donizetti 

First performed:  November 21, 1827 at the Teatro Nuovo, Naples. 

Recordings:  Now available in several recordings, e.g. Bongiovanni 2091/2-2 which also includes Betly. Bella Voce BLV 107.322 is a live recording from Bregenz, 1976 featuring two stalwarts of  Italian opera of that era, Giuseppe Taddei and Leo Nucci.  However, this is definitely an opera that needs to be seen rather than just heard.  

 

L’esule di Roma (also known as Il proscritto)  (1827), opera seria

Librettist:   Domenico Gilardoni 

First performed:  January 1, 1828 at the Teatro San Carlo, Naples.

Recordings:  Bongiovanni GB 2045/6-2

 

Alina, regina di Golconda  (1828), opera semiseria

Librettist:   Felice Romani 

First performed:  May 12, 1828 at the Teatro Carlo Fenice, Genoa. 

Recordings:  Nuova Era 6701. 

 

Gianni di Calais  (1828), opera semiseria

Librettist:   Domenico Gilardoni 

First performed:  August 2, 1828 at the Teatro del Fondo, Naples.

Recordings:  None known.  The sextet from it is included in Donizetti Scenes and Overtures, Opera Rara, ORR 207 and on The Opera Rara Collection, Volume 2, ORR 209.

  

Il giovedi grasso (also known as Il nuovo Pourceaugnac)  (1828), farsa

Librettist:   Domenico Gilardoni 

First performed:  February 26, 1829 at the Teatro del Fondo, Naples

Recordings:  Foyer 1-CF 2036,  Live recording from 1970 Wexford Festival.  A more modern performance is Nuovo Era 1131.

  

Il paria  (1828), opera seria

Librettist:   Domenico Gilardoni 

First performed:  January 12, 1829 at the Teatro San Carlo, Naples

Recordings:   Bongiovanni GB 2300/1-2, live performance from Teatro Masini di Faenza, 2001.

 

Elisabetta al castello di Kenilworth  (1829), opera seria

Librettist:   Andrea Tottola 

First performed: July 6, 1829 at the Teatro San Carlo, Naples

Recordings:  Fonit Cetra RFCD 2005. 

 

I pazzi per progetto  (1829-30), farsa

Librettist:   Domenico Gilardoni

First performed: February 6, 1830 at the Teatro San Carlo, Naples

Recordings:  Bongiovanni GB 2070-2. 

 

Il diluvio universale  (1829-30, revised 1833-4), azione tragica-sacra

Librettist:   Domenico Gilardoni 

First performed: February 28, 1830 at the Teatro San Carlo, Naples

Recordings:  VOCE-100 (LP), Italian Opera Rarities LO 7736-37 (CD), the revised version in a 1985 live recording from the Teatro Comunale dell'Opera di Genova. A more modern recording is from Opera Rara, ORC 31.

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        1830-1833

 

Imelda de’ Lambertazzi  (1830), opera seria

Librettist:   Andrea Tottola 

First performed: September 5, 1830 at the Teatro San Carlo, Naples

Recordings:  Nuova Era 6778/79,  Opera Rara ORC36. 

 

Anna Bolena  (1830), opera seria

Librettist:   Felice Romani 

First performed:  December 26, Teatro Carcano, Milan

Recordings:  Several recordings, including Gencer, Gruberova, Scotto, Sills, Souliotis and Sutherland. The most important historically is that of the April 1957 revival at La Scala with Callas in the title role BJR109/3 (LP). This revival was a major influence on the rediscovery of Donizetti’s hitherto forgotten operas by demonstrating their dramatic potential rather than just demanding singing ability. 

 

Gianni di Parigi  (1831), opera buffa

Librettist:   Felice Romani 

First performed: September 10, 1839 at La Scala, Milan

Recordings:  Nuova Era 6752/53.  Taken from live recordings of a 1988 Bergamo production.

 

Francesca di Foix  (1831), opera semiseria

Librettist:   Domenico Gilardoni  

First performed:  May 30, 1831 at the Teatro San Carlo, Naples

Recordings:  Opera Rara, ORC 28.

 

La romanziera e l’uomo nero  (1831), farsa

Librettist:   Domenico Gilardoni  

First performed:  June 18, 1831 at Teatro del Fondo, Naples.

Recordings: Opera Rara, ORC 19. Bongiovanni GB 2287/88-2, live performance Teatro Sociale di Rovigo, 2000.

 

Fausta  (1831), opera seria

Librettist:   Domenico Gilardoni, Gaetano Donizetti 

First performed:  January 12, 1832 at Teatro San Carlo, Naples

Recordings:  HRE 381-3(LP), Gala GL 100.617, Italian Opera Rarities LO 7701-03 (CD) live performance from 1981 Rome Opera production.

 

Ugo, conte di Parigi  (1831-2), opera seria

Librettist:   Felice Romani  

First performed: March 13, 1832 at La Scala, Milan.

Recordings: Opera Rara ORC 1

 

L’elisir d’amore  (1832), opera buffa

Librettist:   Felice Romani  

First performed:  May 12, at the Teatro Canobbiana, Milan.

Recordings:  Many recordings.  One of historical interest is Eklipse Records EKR CD 8, a live recording from the Teatro San Carlo, Naples in January, 1953 with Beniamino Gigli as Nemorino and his daughter Rina as Adina. 

 

Sancia di Castiglia  (1832), opera seria

Librettist:   Pietro Salatino  

First performed:  November 4, 1832 at Teatro San Carlo, Naples. 

Recordings:  VOCE-103(LP).  A live recording with Caballé has also been advertised, for example, Celestial Audio CA436.

 

Il furioso all’isola di San Domingo  (1832), opera semiseri

Librettist:   Jacopo Ferretti  

First performed:  January 2, 1833 at Teatro Valle, Rome.

Recordings:  Bongiovanni GB 2056/8-2.

 

Parisina d’Este  (1833), opera seria

Librettist:   Felice Romani  

First performed:  March 17, 1833 at Teatro della Pergola, Florence.

Recordings: Bongiovanni  GB 2212/3-2.   There is also a 1974 live recording from New York with superb singing from Caballé on Myto 984193, previously released on LP as BJRS 134-3. 

 

Torquato Tasso  (1833), opera semiseria

Librettist:   Jacopo Ferretti  

First performed:  September 9, 1833 at Teatro Valle, Rome.

Recordings: Bongiovanni GB 2028/0-2.  There is also a live recording from the 1974 Camden Festival  on Raritas, OR 9(LP) and Celestial Audio CA247(CD). 

 

Lucrezia Borgia  (1833, revised in 1839 and 1840), opera seria

Librettist:   Felice Romani  

First performed: December 26, 1833 at La Scala, Milan.

Recordings:  Several recordings, the best known of which is probably with Sutherland in the title role, Decca 421497,  D93D 3 (LP).  This includes elements of both the original and revised versions but with the 1833 finale and its infamous cabaletta  “Era desso il figlio mio” that was included on the demand of the primadonna, Henriette Méric-Lalande. Sutherland’s  performance (Royal Opera House, London, 1977) is also available on DVD

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        1834-1838

 

Rosmonda d’Inghilterra  (1834, revised as Eleonora di Gujenna, 1839), opera seria

Librettist:   Felice Romani 

First performed: February 27, 1834 at Teatro della Pergola, Florence.

Recordings:  Opera Rara ORC 13.

 

Maria Stuarda  (1834, revised as Buondelmonte in 1834 in response to the censors’ refusal to allow Maria Stuarda), opera seria

Librettist:   Giuseppe Bardari  

First performed:  December 30, 1835 at La Scala, Milan.

Recordings:  Increasing number of recordings including an English version, Mary Stuart, with Janet Baker singing one of her favourite roles (Chandos 3017) as well as a DVD/video.

 

Gemma di Vergy  (1834), opera seria

Librettist:   Emanuele Bidèra  

First performed:  December 26, 1834 at La Scala, Milan.

Recordings: Allegro OPD-1379, 1975 live performance with Caballé.   Myto 952124, 1976 live recording from Paris with Caballé.  Another 1976 live recording from Carnegie Hall, New York, also with Caballé, was issued on  CBS 79303 (LP).

 

Marino Faliero (1835), opera seria

Librettist:   Emanuele Bidèra  

First performed:  March 12, 1835, Théatre-Italien, Paris.

Recordings:  Agorà 229.  There is a live recording of the first 20th century revival at Bergamo in October, 1966 on  Raritas OR 4(LP)

 

Lucia di Lammermoor (1835, revised for Paris as Lucie de Lammermoor in 1839), opera seria

Librettist:   Salvatore Cammarano   

First performed: September 26, 1835 at the Teatro San Carlo, Naples.

Recordings:  Innumerable recordings of Donizetti’s best known serious opera. For sheer singing, Sutherland, Polygram (Decca) 410193,  is still the measure but for expressiveness then Callas is possibly to be preferred with her live recordings conducted by von Karajan (Virtuoso 2697273, Berlin; Legato SRO 831-2, Milan), generally thought the best of several versions from her.  Over the years, sopranos have wrought havoc with the score, transposing and adding to it with the goal of increasing its effectiveness as a showpiece.  Two recordings claim to go back to the original score and keys:- Caballé on Universal 470421 (was on  Philips  ) and Rost on Sony 63174.   Unfortunately, virtue is not really rewarded in either case. Sills on Westminster (Universal) 471250-2 uses a glass harmonica in the Mad Scene.  This was Donizetti's original intention but he replaced it by the flute, probably because of the difficulty of finding players.  Recently, two recordings of the French version, Lucie di Lammermoor, have appeared with Ciofi on Dynamic 204 and  Dessay on Angel Classics 45528

 

Belisario (1835-6), opera seria

Librettist:   Salvatore Cammarano 

First performed:  February 4, 1836 at the Teatro La Fenice, Venice.

Recordings:  ARKADIA CDHP 586.2, Gencer in an October 7, 1970 live performance from Bergamo with excerpts also from two May 1969 live performances in Venice. Opera d’Oro OPD 31258 has the complete May 14 Venice recording.

 

Il campanello di notte (1836), farsa

Librettist:   Gaetano Donizetti   

First performed:  June 1, 1836 at the Teatro Nuovo, Naples.

Recordings:  Bongiovanni  GB 2207-2

 

Betly (also known as La capanna svizzera) (1836), opera buffa

Librettist:   Gaetano Donizetti  

First performed:  August 21, 1836 at the Teatro Nuovo, Naples. 

Recordings:  Bongiovanni GB 2091/2-2,  also includes Le convenienze ed inconvenienze teatrali. 

 

L’assedio di Calais (1836), opera seria

Librettist:   Salvatore Cammarano 

First performed: November 19, 1836 at the Teatro San Carlo, Naples.

Recordings:  Opera Rara ORC 9.

 

Pia de’Tolomei (1836-7), opera seria

Librettist:   Salvatore Cammarano 

First performed:  February 18, 1837 at the Teatro Apollo, Venice.

Recordings:  Melodram  MEL 37017 is a live recording of the first staging in the 20th century at Siena in 1967.  Also includes a 1962 live recording from Naples of Maria di Rohan.  On Stage OS 4709 has an RAI Milan performance, 1976, also reissued on Bongiovanni 2379/80-2.  Recent recordings include Opera Rara ( ORC 30 ) that includes both endings and Dynamic (DVD 33488 and CD CDS 488) taken from the 2004 production at La Fenice, Venice

 

Roberto Devereux (1837), opera seria

Librettist:   Salvatore Cammarano     

First performed:  October 28, 1837 at the Teatro San Carlo, Naples.

Recordings:  FONIT CETRA DOC 65 (LP) is a live recording of the first 20th century staging in Naples in 1964 with Leyla Gencer in the role of Elizabeth giving arguably her best performance on record during a period of two decades when she was a mainstay of bel canto opera with several live recordings of several rare Donizetti operas to her name. 

                   Beverly Sills also gives the best  “queen” of her recordings of the so-called  “Three Queens” – Anna Bolena, Maria Stuarda and Roberto Devereux-  a New York City Opera marketing concept rather any intention on Donizetti’s part. This set has recently been re-released on Polygram (Decca) 465967.  There is also a DVD/video of her performance in a 1975 Wolf Trap production.

 

Maria de Rudenz (1837), opera seria

Librettist:   Salvatore Cammarano 

First performed:  January 30, 1838 at the Teatro La Fenice, Venice.

Recordings:  Opera Rara ORC 16

 

Poliuto (1838, revised in 1839 as a grand opéra, Les Martyrs, for Paris after the censors in Naples refused to allow it to be staged), opera seria

Librettist:   Salvatore Cammarano     

First performed:  November 30, 1848 at the Teatro San Carlo, Naples.

Recordings:  Nuova Era 6776/77, created from a live 1989 Rome Opera production.  For sheer atmosphere, Callas, in a live 1960 La Scala performance, takes a lot of beating, particularly the extended ovation on her entrance, as the audience welcomed her back after an absence from La Scala caused by disagreements with the management.

 

                   The French adaptation, Les Martyrs, has been recorded with Gencer as Pauline on Italian Opera Rarities LO 7716, a live performance from La Fenice, Venice.  She is also featured in a 1975 live performance from Bergamo on Myto 972154 with some additional excerpts from Lucia di Lammermoor.

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        1839-1843

 

Le Duc d’Albe (1839, not performed. Completed and revised by others as Il Duc d’Alba), grand opéra

Librettists:   Eugène Scribe and Charles Duvéyrier  

First performed:  As Il Duc d’Alba on March 22, 1882 at the Teatro Apollo, Rome

Recordings:  Opera D’Oro OPD 1178 is a live recording of a revival of  Il Duc d’Alba at the1959 Spoleto Festival.

 

La Fille du régiment (1839, later revised as an opera buffa, La figlia di reggimento), opéra comique.

Librettists:   Jules-Henri Vernoy de Saint-Georges and Jean-Francois-Albert Bayard

First performed:  February 11, 1840 at the Opéra Comique, Paris. 

Recordings:  Several recordings of both language versions are now available, of which Sutherland/Pavarotti, Polygram (Decca) 414520, is perhaps the most recommendable. Also of historic interest and highly enjoyable is that with Lily Pons from a Metropolitan Opera, New York, production of December 1940 (Naxos 8110018-9). Both Sills and Sutherland have made very watchable videos of it.

 

L’ange de Nisida (1839, not performed but reworked as La Favorite), opera semiseria

Librettists:   Alphonse Royer and Gustave Vaez      

First performed:  Not performed. 

Recordings:  None

 

La Favorite (1840, also revised in Italian as La Favorita), grand opéra

Librettists:   Alphonse Royer and Gustave Vaez       

First performed: December 2, 1840 at the Opéra, Paris.

Recordings:  Both versions have been recorded several times particularly the Italian version despite the fact that the original French version is considered much superior.  A recent French version is on RCA 66229.  Of particular historic interest is a 1912 recording of a Paris Opéra production (Marston Pathé Opera Series Volume 2 (CD), Bourg, BG 4001-2-3 (LP)).

 

Adelia (also known as La figlia dell’arciere) (1840), opera seria

Librettists:   Felice Romani and Girolamo Marini      

First performed:  February 11, 1841 at the Teatro Apollo, Rome.

Recordings:  RICORDI  RFCD 2029

 

Rita (also known as Le mari battu) (1841), opéra comique

Librettist:   Gustave Vaez      

First performed:  May 7, 1860 at the Opéra-Comique, Paris 

Recordings:  Nuova Era 7045, Rita only. Bongiovanni GB 2109/0-2  is a 2 CD set that also includes  Il Pigmalione  as well as fragments from 2 early, probably uncompleted, Donizetti operas,  L’Olimpiade and La bella prigioniera.

 

Maria Padilla (1841, revised 1842), opera seria

Librettists:   Gaetano Rossi and Gaetano Donizetti  

First performed: December 26, 1841 at La Scala, Milan.

Recordings:  Opera Rara ORC 6

 

Linda di Chamounix (1841-2, revised 1842), opera semiseria

Librettist:   Gaetano Rossi      

First performed:  May 19, 1842, at the Kärntnertorteater, Vienna.

Recordings:  Several recordings, a recent one being Mariella Devia as Linda on ARTS 47151-2.

 

Caterina Cornaro (1842-3), opera seria

Librettist:   Giacomo Sacchero      

First performed: January 18, 1844, at Teatro San Carlo, Naples.

Recordings:  There are at least two live recordings of  Caballé in the title role, with Carreras as Gerardo on  Opera D’Oro 1266 and with Aragall (1973) on Estro Armonica EA 049 (LP).  There is also a live recording from Naples with Gencer on Myto 92153

 

Don Pasquale (1842), opera buffa

Librettists:   Giovanni Ruffini and Gaetano Donizetti

First performed:  January 3, 1843, at the Théâtre-Italien, Paris.

Recordings:  Many recordings, although a definitive one has proved elusive.  Schipa on Opera D’Oro 1224  is still the yardstick for Ernesto despite the recording being now around 70 years old.

 

Maria di Rohan (1843), opera seria

Librettists:   Salvatore Cammarano   

First performed:  June 5, 1843, at the Kärntnertorteater, Vienna.

Recordings:  Nuova Era 6732/33 with Mariana Nicolesco, Nightingale 070567-2 with Edita Gruberova. Also on Melodram  MEL 37017, a 1962 live recording from Naples with Virginia Zeani, which also includes a 1967 live recording from Siena of Pia de’ Tolomei

 

Dom Sébastien, roi de Portugal (revised in German as Dom Sebastian and in Italian as Don Sebastiano)                                           (1843), grand opéra

Librettists:  Eugène Scribe      

First performed:  November 13, 1843, at the Opéra, Paris. 

Recordings:  A few live recordings of the Italian version, such as Kicco Records KC018CD and  Cetra LO 20-3 (LP).  Newsletter 77 recommended the former. A live performance conducted by Eve Queler of the French version can be found on Legato Classics  LCD 190-2. Queler and the Opera Orchestra of New York have resurrected many rare operas in concert versions over the years, including some by Donizetti, such as the Parisina d'Este referred to above.  Opera Rara has produced a modern recording.

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