CD1
1 Preludio: Allegro	2:00 	
2 Introduzione e Terzetto: Oh ben giunti! (Chorus, Diego)	3:59 	
3 Act I: Ecco i fratei (Chorus, Cesare, Emanuele)		3:55 	
4 Act I: Emanuele! (Cesare, Emanuele, Diego, Chorus)	4:58 	
5 Act I: Recitativo: Dunque, amico? (Isabella) - Cavatina Isabella: Figli a una sola patria 
(Isabella, Diego, Chorus) 	8:13 	
6 Act I: Romanza e Duetto: Emanuel! Cosi tu m'hai lasciata (Beatrice)	5:39 	
7 Act I: Esce dal bosco (Beatrice, Cesare)	6:10 	
8 Act I: Scena: Ite, o fedei! - Romanza: Chi fida l'anima (Emanuele)	7:40 	
9 Act I: Finale: Dove in silenzio restasi (Chorus)		3:24 	
10 Act I: O figli, a voi dal tumulo (Isabella, Emanuele, Cesare)	5:33 	
11 Act I: Si giuri omai (Emanuele, Cesare, Isabella, Chorus, Diego)	5:11 	
12 Act I: La mia figlia, la mia vita (Isabella, Chorus, Emanuele, Cesare, Diego)	6:17 	

CD2
1 Act II: Coro: Voi pur vedeste (Chorus, Cesare) - Aria: Mio fratello? Ei stesso
 (Cesare, Chorus)	7:57 	
2 Act II: Scena: Per la selva vicina (Emanuele) - Duetto: O desio della mia vita (Emanuele, Beatrice, 
Cesare, Chorus) - Terzetto: Cosi i tuoi giorni serbansi (Cesare, Emanuele, Beat	9:04 	
3 Act II: Finale: Sovra il suo viso languido (Chorus, Isabella)	5:15 	
4 Act II: Dove son io? (Beatrice, Isabella, Chorus)	4:23 	
5 Act II: Egli mori (Chorus, Isabella, Beatrice, Diego, Cesare)	6:14 	
6 Act II: Al fratel, deh! che almeno mi unisca (Cesare, Isabella, Beatrice, Chorus)		7:25

Donna Isabella, principessa di Messina – Jessica Pratt (Soprano)
Don Emanuele, suo figlio – Filippo Adami (Tenor)
Don Cesare, altro suo figlio – Armando Ariostini (Baritone)
Beatrice – Wakako Ono (Mezzo-soprano)
Diego – Maurizio Lo Piccolo (Bass)

Classica Chamber Choir, Brno
Virtuosi Brunensis
Antonino Fogliani – conductor

The operas of Nicola Vaccaj, renowned as a vocal teacher and still known today for his Metodo di Canto, employ a similar bel canto style to that of his rival Bellini. Based on a tragedy by Friedrich Schiller, the powerfully dramatic plot of La sposa di Messina deals with the inescapable and, in this case, destructive nature of destiny. Vaccaj's own 1839 premi+¨re was dogged by bad luck, and the subject proved too controversial for Venetian audiences despite its numerous superb set pieces. After one complete and one partial performance, it was not staged again until the 2009 revival heard on this live recording. Antonino Fogliani's many conducting engagements have taken him to leading international opera houses and concert halls. For Rossini in Wildbad he has directed Ciro in Babilonia, L'occasione fa il ladro, Mos+¨ in Egitto, La scala di seta, Il signor Bruschino and Otello, as well as Vaccaj's La sposa di Messina. ---Editorial Reviews, amazon.com

Italian composer Nicola Vaccaj (also spelled Vaccai) is known today primarily for vocal exercises, but in his own time he was a successful as well as controversial contemporary of Bellini. La sposa di Messina here receives its first recording and has been performed only once since its disastrous premiere in 1839, when it was withdrawn midway through the second performance. It's an ambitious work, adapted from Schiller's play Die Braut von Messina (The Bride of Messina). The play was Schiller's best attempt to emulate Sophocles, with a pair of brothers who fall in love with the same woman, unaware that she is their sister and that, moreover, it has been prophesied that she will cause their destruction. There are tough soprano arias that British soprano Jessica Pratt, in the title role of Isabella, handles very well indeed. A chorus of courtiers has a varied, expressive role. And Vaccaj has a real feel for dramatic scenes such as Isabella's harp-haunted awakening from the dead faint into which she falls as the plot approaches its denoument (CD 2, track 3). A worthwhile operatic revival, but Naxos makes you go online for the otherwise unavailable libretto by Jacopo Cabianca. ---James Manheim, Rovi

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Disc 1
1.Giulietta e Romeo: Introduzione (rchestra Filarmonica Marchigiana	1:53 	
2.Giulietta e Romeo, Act I: Aggiorna appena (Coro Lirico Marchigiano V. Bellini)	3:18 	
3.Giulietta e Romeo, Act I: Taci, il mio cenno è dato (Dano Raffanti)	3:12 	
4.Giulietta e Romeo, Act I: Mesta ed ognor languente (Enrico Turco)	1:01 	
5.Giulietta e Romeo, Act I: Ah! Tolga il ciel (Dano Raffanti)	4:27 	
6.Giulietta e Romeo, Act I: O di Capellio generosi amici (Enrico Turco)	2:09 	
7.Giulietta e Romeo, Act I: Con essi pace? (Armando Ariostini)	1:40 	
8.Giulietta e Romeo, Act I: Ciel! Che vedo! Romeo! (Maria José Trullu)	1:37 	
9.Giulietta e Romeo, Act I: Se Romeo t'uccise un figlio (Maria José Trullu)	3:19 	
10.Giulietta e Romeo, Act I: La guerra bramata (Maria José Trullu)	1:55 	
11.Giulietta e Romeo, Act I: Lorenzo (Maria José Trullu)	0:33 	
12.Giulietta e Romeo, Act I: Stanca da lunga veglia (Elena Marinangeli)	3:20 	
13.Giulietta e Romeo, Act I: Ite, e non sia turbata (Enrico Turco)	0:33 	
14.Giulietta e Romeo, Act I: Propizia è l'ora (Maria José Trullu)	1:59 	
15.Giulietta e Romeo, Act I: Sei pur tu che ancor rivedo? (Maria José Trullu)	10:24 	
16.Giulietta e Romeo, Act I: Romeo. Romeo (Maria José Trullu)	2:07 	
17.Giulietta e Romeo, Act I: Parla, i timori acqueta (Dano Raffanti)	4:24 	
18.Giulietta e Romeo, Act I: Cara, deh! Fa che splendere (Armando Ariostini)	3:19 	
19.Giulietta e Romeo, Act I: Va', disponti, e lieta riedi (Dano Raffanti)	2:42 	
20.Giulietta e Romeo, Act I: Olà! (Dano Raffanti)	1:08 	
21.Giulietta e Romeo, Act I: Lieta notte avventurosa (Coro Lirico Marchigiano V. Bellini)	2:16 	
22.Giulietta e Romeo, Act I: Deh! Per pietà t'arresta (Maria José Trullu)	1:19 	
23.Giulietta e Romeo, Act I: Vieni, e reprimi i palpiti (Maria José Trullu)	1:39 	
24.Giulietta e Romeo, Act I: Qual tumulto - Quella tromba è suon ferale (Maria José Trullu)	1:32 	
25.Giulietta e Romeo, Act I: Tace il fragor (Paula Almerares)	3:44 	
26.Giulietta e Romeo, Act I: Giulietta! Ahimè che vedo (Maria José Trullu)	1:13 	
27.Giulietta e Romeo, Act I: Armato in queste soglie (Maria José Trullu)	8:33 	

Disc 2
1.Giulietta e Romeo, Act II: La mischia orribile (Elena Marinangeli)	2:32 	
2.Giulietta e Romeo, Act II: Sposo! Capellio! (Elena Marinangeli)	1:06 	
3.Giulietta e Romeo, Act II: Cieli! Di tue stanze fuori (Enrico Turco)	1:52 	
4.Giulietta e Romeo, Act II: Là riposa il mio germano (Paula Almerares)	7:56 	
5.Giulietta e Romeo, Act II: Porgile, o ciel coraggio (Enrico Turco)	3:07 	
6.Giulietta e Romeo, Act II: Nella tua vittima (Coro Lirico Marchigiano V. Bellini)	0:58 	
7.Giulietta e Romeo, Act II: Cessa. Mi lascia (Dano Raffanti)	0:44 	
8.Giulietta e Romeo, Act II: Ciel tiranno (Dano Raffanti)	2:41 	
9.Giulietta e Romeo, Act II: Ah! Con qual nome (Dano Raffanti	3:48 	
10.Giulietta e Romeo, Act II: Giusto ciel (Dano Raffanti)	2:30 	
11.Giulietta e Romeo, Act II: Voi lo seguite (Enrico Turco)	1:34 	
12.Giulietta e Romeo, Act II: Qual suon (Elena Marinangeli)	1:19 	
13.Giulietta e Romeo, Act II: Addio per sempre (Coro Lirico Marchigiano V. Bellini)	4:06 	
14.Giulietta e Romeo, Act II: E' questo il loco (Maria José Trullu)	5:28 	
15.Giulietta e Romeo, Act II: Ah se tu dormi, svegliati (Maria José Trullu)	3:29 	
16.Giulietta e Romeo, Act II: Ah! Qual sospiro (Maria José Trullu)	6:21 	
17.Giulietta e Romeo, Act II: Schiusa è la ferrea porta (Enrico Turco)	3:28 	
18.Giulietta e Romeo, Act II: Prendimi teco, e involami (Paula Almerares)	7:53 

Dano Raffanti - Capellio, principale fra i Cappelletti e padre di Giulietta (tenor)
Paula Almerares - Giulietta, amante di Romeo (soprano)
Maria José Trullu - Romeo, capo dei Montecchi  (alto)
Elena Marinangeli - Adele, madre di Giulietta (soprano)
Armando Ariostini - Tebaldo, partigiano de’ Cappelletti, destinato sposo di Giulietta (bass)
Enrico Turco - Lorenzo, medico e familiare di Capellio  (bass)

Orchestra Filarmonica Marchigiana
Tiziano Severini - conductor

Recording Venue: Teatro Comunale Pergole, Jesi, Italy
Recorded: 4 and 6 October 1996

Opera buffs may know Nicola Vaccai as one of the last composers of the Neapolitan School: he was a pupil of Paisiello and almost contemporary to Rossini, and was well known in his time, to the point that the last scene of his Giulietta e Romeo was taken to substitute the same scene in Bellini’s I capuleti ed i montecchi because the singers considered Vaccai's music greater than Bellini's. Vaccai’s opera was delivered in the courtyard of Palazzo Ducale in Martina Franca and was based upon the critical edition curated by musicologist Ilaria Narici in 1996 for the first and, until now, only staging of the opera in modern times. ---bachtrack.com

Nicola Vaccaj belonged to the Neapolitan School. He was a pupil of Paisiello and a contemporary of Rossini, whose fame somewhat obscured his own. But he was well enough known and appreciated during his day that an extract from the last Act of his Giulietta e Romeo was chosen as a substitute for the same aria in Bellini’s I Capuleti e I Montecchi for an 1832 performance. This arrangement remained common practice until the end of the 19th century. It’s hard to believe, therefore, that Vaccaj’s most notable success has been neglected for such a long time, since it is “an opera that could easily hold its own among the better-known works in the bel canto canon. It has a taut plot, with a strong libretto written by Romani, and is full of well-constructed ensemble pieces.” ---prestomusic.com

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