Vaccai:GIULIETTA E ROMEO
Vaccai:GIULIETTA E ROMEO
Release datum:
23-02-2016
Label:
Bongiovanni
Omschrijving:
Opera CD
Art.nr.:
GB2195
Discs:
1
Inhoud:
PAULA ALMERARES, MARIA JOSE TRULLU, DANO RAFFANTI, ARMANDO ARIOSTINI; TIZIANO SEVERINI

NICOLA VACCAJ (1790-1848)
GIULIETTA E ROMEO
Dramma serio per musica in tre atti di Felice Romani
PAULA ALMERARES MARIA JOSÉ TRULLU DANO RAFFANTI ENRICO TURCO ARMANDO ARIOSTINI ELENA MARINANGELI
ORCHESTRA FILARMONICA MARCHIGIANA CORO LIRICO MARCHIGIANO “VINCENZO BELLINI” Conductor: TIZIANO SEVERINI Recorded live at the Teatro Pergolesi, Jesi (Ancona) on September 1996


On October 31st, 1825 the Teatro della Cannobiana of Milan produces Giulietta e Romeo, by Nicola Vaccaj, a composer from Marche already known in Naples; the opera is a success.
Vaccaj’s Giulietta e Romeo belongs to that group of operas in the structures of which a certain freedom from Rossini’s models can be per- ceived; a freedom that results, although shyly, in a faster and more concise dramatic conception and in a clear bent for a more pathetic and affectionate melodic expression.
Born at Tolentino on March 16th, 1790 and dead in Pesaro on August 6th, 1848, at thirty-five Nicola Vaccaj had been active for at least ten years when he started to compose his seventh opera. A learned man, he was educated in Rome and in Naples - he was one of Paisiello’s last pupils - and it was just in Naples that Vaccaj made a name for himself as a theatrical composer and had his first success, later confir- med in Venice, Parma and Turin.
In the April 1826, Giulietta e Romeo was reproposed at La Scala and had eighteen repeat performances. Then the opera was staged in many Italian and foreign theaters, always successfully. From 1826 to 1829, Giulietta e Romeo was performed in New York, Barcellona, Paris (Théâtre Italien), London and Corfù. The success of this work, however, was limited to the five years following its first performance: star- ting from 1830, when Capuleti e Montecchi by Bellini was first produced, the luck of Vaccaj’s opera began to fade and the score gradual- ly disappeared from the stages, at least in its integrity. As regards Bellini’s work, it is interesting to know that his opera was based practi- cally on the same libretto used by Vaccaj, which Romani modified with changes and reductions both to characters and verses.
It is well known that Maria Malibran, who was Romeo at the première of Bellini’s Capuleti (Bologna, October 27th, 1832), demanded the original finale to be replaced with the one from Vaccaj’s opera, allegendly on Rossini’s advice. This replacement, was limited to the aria and the duet, thus eliminating the andantino in G major “Prendimi teco” and the relevant rondo “Ah crudele, se vuoi ch’io viva”, that is the scene and the aria of Giulietta concluding the score. The audience apparently approved of this odd operation and the critics stated that “As far as the cavatina (of Romeo) is concerned, Vaccaj’s work seems to be more effective than Bellini’s” and therefore “Malibran was right and quite shrewd in opting for Vaccaj’s music in the last scene of the tomb.”
A manipulation of this kind, that today seems absurd, was later endorsed by a famous couple: Giuditta and Ernestina Grisi, who in 1835 did the same thing at the Regio Theater of Turin, thus incurring the blame of Romani on La Gazzetta Piemontese. This practice would eventually become quite normal, to the point that Ricordi added the chorus, the aria and the duet from Vaccaj’s last scene as an appendix to Bellini’s work. Since the duet was to serve as a finale because of the suppresion of Giulietta’s aria and rondo, six apocryphal measures were added to Vaccaj’s original score.
So the aria and the final duet by Vaccaj were extremely successful and outlasted the rest of the work that, on the contrary, was complete- ly forgotten after 1835, when Malibran herself sang - rather poorly - its last, unlucky performance at La Scala, although the composer had made additions to the vocal parts and had improved the instrumentation.
Barcode:
8007068219520