Il Credulo  (Cimarosa)  (Simonetto;  Cesare Valletti, Sesto Bruscantini, Dora Gatta, Elena Rizzieri)  (Archipel 0362)
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Il Credulo  (Cimarosa)  (Simonetto;  Cesare Valletti, Sesto Bruscantini, Dora Gatta, Elena Rizzieri)  (Archipel 0362)
OP1415. IL CREDULO (Cimarosa), Broadcast Performance, 17 May, 1956, w.Simonetto Cond. RAI Ensemble, Milano; Cesare Valletti, Sesto Bruscantini, Dora Gatta, Elena Rizzieri, etc.; SESTO BRUSCANTINI: recital of 5 arias. (Germany) Archipel 0362. Very long out-of-print, Final Sealed Copy! - 4035122403626


“IL CREDULO premiered at Naples’ Teatro Nuovo in 1786. Domenico Cimarosa was an Italian opera composer of the Neapolitan school who wrote more than eighty operas during his lifetime, including his masterpiece, IL MATRIMONIO SEGRETO (1792). In Vienna he produced his masterpiece, IL MATRIMONIO SEGRETO, which ranks among the greatest examples of opera buffa (Verdi considered it the model opera buffa). In 1793, Cimarosa returned to Naples, where IL MATRIMONIO SEGRETO and other works were received with great acclaim. The two-act version of Cimarosa’s opera was first performed at the Teatro Nuovo in Naples during the Carnival season of 1786 when it was coupled with another farsa by Cimarosa, LA BARONESSA STRAMBA. In one version or the other, the opera had further performances in Florence, Rome, Modena and Venice and, beyond Italy, in Barcelona, St. Petersburg and Warsaw.

The Archipel issue of this preciously unpublished live recording contains no notes whatsoever, not even the date of the opera. Nor, of course, are there any texts or translations. What was performed in Milan in 1956 actually seems to be a conflation of the two versions – it is programmed as one act - though using the title of the two-act version - but restores at least some of the material omitted from the one act version as evidenced by the London manuscript. So far as I can work out, the plot of IL CREDULO is typical of the kind of concoction which usually characterises a farsa per musica in this period.

Neither orchestral playing nor singing is, stylistically-speaking, quite what we would get from a modern ‘period’ performance, but it makes up for this in energy and sense of fun. In a way it could be argued that performances such as this represent a living tradition, an evolution within the opera house, more than more scholarly editions and interpretations do.

Bruscantini is a fine baritone, whose well-known expertise in Mozart is relevant here, making him a sympathetic interpreter of Cimarosa too, whose buffo manner has more than a little in common with that of Mozart. His diction is exemplary and he has a convincing dramatic presence. He is certainly the star of this performance. Valletti sings very decently, though I have heard recordings of him that do rather more justice to the beauty of his tone. So far as I know, there are no alternative recordings available.

A ‘bonus’ comes in the form of five well-known arias from Bruscantini. Here the recorded sound is a good deal better, and there is much to enjoy in the intelligence and musicianship of his singing.”

- Glyn Pursglove, MusicWebInternational

"Although Valletti was a student of Tito Schipa (from whom he undoubtedly learnt some of the graces of production and interpretation), he was in some aspects a counterpart to his coach. Valletti’s was a light but flexible tenor voice of Italianate lyricism and a rare beauty of tone. His timbre was not as ‘sweet’ as that of Tito Schipa, Ferruccio Tagliavini or Beniamino Gigli, but he was the most accomplished technician of them all."

- Andrea Shum-Binder, subito-cantabile

“As one of the younger tenors to emerge soon after World War II, it was obvious that Valletti was an artist whose reputation would be made based on artistic and musical considerations….His musicianship and vocal colour made him an ideal interpreter of Mozart roles, and like Schipa [his mentor], he became a renowned Werther with sensitivity and nuance being the key to his interpretation….he was considered a lyric tenor of the front rank.”

- Alan Bilgora, program notes to Pearl’s THE CETRA TENORS

"During a career that lasted 45 years, the Italian bass-baritone Sesto Bruscantini acquired an enormous repertory that was notable for the range, musical and dramatic, of the roles that he sang, as well as for their number.

Bruscantini first sang at La Scala in 1949, as Don Geronimo in Cimarosa's IL MATRIMONIO SEGRETO, a role that would remain in his repertory for many years. In 1950 he sang Selim in Rossini's IL TURCO IN ITALIA in Rome, with a stellar cast including Maria Callas, Cesare Valletti and Mariano Stabile. The following year he returned to La Scala for Dr Dulcamara in Donizetti's L'ELISIR D'AMORE, another role he would still be singing some 40 years later. He also sang Masetto in DON GIOVANNI. Nineteen fifty-one was the 50th anniversary of Verdi's death, and Bruscantini sang Baron Kelbar in UN GIORNO DI REGNO for Radio Italiana.

In the summer of 1954 he sang Rossini's Figaro in IL BARBIERE DI SIVIGLIA at Glyndebourne, and with the company in Edinburgh took on Raimbaud in Rossini's LE COMTE ORY. Meanwhile he was appearing in Genoa, Venice, Naples, Rome, Bologna and Lisbon. At Glyndebourne in 1955 he sang both Mozart's and Rossini's Figaro, demonstrating his ability to bring a character to vibrant life. He felt that the mainspring of Rossini's Figaro was money and that of Mozart's was love; a third Figaro, in Paisiello's IL BARBIERE, which was also in his repertory, was the only one motivated, like the Beaumarchais original, by revolutionary politics. Bruscantini gained another baritone role in Malatesta in DON PASQUALE at Genoa in 1958, but early the following year reverted to Pasquale at La Scala.

In 1959 he appeared at the Royal Festival Hall in London with the Virtuosi di Roma in three 18th-century comic operas, as Uberto in Pergolesi's LA SERVA PADRONA, as Don Bucefalo in Fioravanti's LE CANTATRICI VILLANE and in the title role of IL MAESTRO DI CAPPELLA by Cimarosa, a one-man show that peopled the stage with imaginary characters and always brought the house down.

Nineteen-sixty was a milestone in Bruscantini's career. In February and March he sang the four baritone villains in LES CONTES D'HOFFMANN and Marcello in LA BOHEME at the San Carlo, Naples. Then at Glyndebourne in the summer he took on his first Verdi baritone role, Ford in FALSTAFF. He repeated Ford at Edinburgh and in Turin, then in November he made his US debut in Chicago as Rossini's Figaro.

In 1962 he sang his first Posa in Verdi's DON CARLOS at Trieste. Other high baritone roles followed, and in 1965 another new Verdi role, Renato in UN BALLO IN MASCHERA, at Florence. This was followed by Giorgio Germont in LA TRAVIATA at Genoa in 1966. The elder Germont was perhaps Bruscantini's finest baritone characterisation. He sang it in Madrid, Chicago, Palermo and Parma, during the 1960s, and at Marseilles in 1971, with Renata Scotto as Violetta. The depth of feeling he brought to the role was unique in my experience, and he evoked enormous sympathy for a personage who is often taken to be unsympathetic.

He continued to sing throughout the 1980s, appearing at Salzburg three years running as Don Alfonso in COSI FAN TUTTE. At Houston he took on Dr Bartolo in IL BARBIERE. He returned to Glyndebourne in 1985 as Don Magnifico. In 1986 he sang Iago (never one of his best roles) at Dallas in an emergency and obtained a new Rossini role at Bordeaux, Asdrubale in LA PIETRA DEL PARAGONE. In 1988 he sang Don Alfonso in Los Angeles, the four villains in Madrid. In 1989 he sang Michonnet in Rome. In 1990, also in Rome, he sang a new role, the Magistrate in WERTHER, and sang a final Don Alfonso in Macerata. He was 70. After retiring from the opera stage, he started a school of singing in Civitanova."

- Elizabeth Forbes, THE INDEPENDENT, 11 May, 2003