Gaetano Donizetti - Dom Sébastien, Roi de Portugal (2007)

Disc: 1
1. Act 1. Prélude
2. Act 1. Introduction. Nautonniers, mettez à la voile!
3. Act 1. Introduction. Ainsi nous l'emportons
4. Act 1. Air. Encore ce soldat, qui me poursuit
5. Act 1. Air. Soldat, j'ai rêvé la victoire
6. Act 1. March funèbre et Final. Regarde!
7. Act 1. March funèbre et Final. Quelle est-elle?
8. Act 1. March funèbre et Final. O mon Dieu, sur la terre			play
9. Act 1. March funèbre et Final. Entendez-vous le trompette
10. Act 1. March funèbre et Final. Qui, le ciel m'enflamme et m'inspire!
11. Act 1. March funèbre et Final. Entendez-vous le trompette
12. Act 2. Choeur. Les délices de nos campagnes
13. Act 2. Romance. Que faite? Où cachet ma tristesse?
14. Act 2. Après la Romance. Eh quoi? Ton front toujours voile
15. Act 2. Ballet Music. Pas de Trois
16. Act 2. Ballet Music. Pas de deux
17. Act 2. Ballet Music. Danse final

Disc: 2
1. Act 2. Final. Eh quoi! des danses et des fêtes!
2. Act 2. Final. Une épée!... une épée!...
3. Act 2. Final. Victoire! victoire! victoire! 						play
4. Act 2. Final. Il est tombé!... Parmi ces cadavres
5. Act 2. Final. Grand Dieu!... sa misère est si grande
6. Act 2. Final. Vouloir sauver mes jours
7. Act 2. Final. Courage!... ô mon roi! courage!
8. Act 2. Final. Du sang! du sang!...
9. Act 2. Final. Eh bien donc!...
10. Act 2. Final. Seul sur la terre
11. Act 3. Récitatif et Duo. Pour éteindre une guerre aux deux
12. Act 3. Récitatif et Romance. Sur le sable d'Afrique
13. Act 3. Récitatif et Romance. Qui vive!...
14. Act 3. Final. C'est un soldat qui revient
15. Act 3. Final. Requiem
16. Act 3. Final. D'un monarque imprudent oublions
17. Act 3. Final. Misérable qui arrive

Disc: 3
1. Act 4. Choeur et Final. O voûtes souterraines!
2. Act 4. Choeur et Final. Toi qui, par un mensonge impie
3. Act 4. Choeur et Final. Grand Dieu!
4. Act 4. Choeur et Final. D'espoir, et de terreur
5. Act 4. Choeur et Final. Arrête...
6. Act 4. Choeur et Final. Va, parjure! épouse impie
7. Act 4. Choeur et Final. Ah! Zayda!							play
8. Act 5. Duo. Ainsi les Espagnols s'avancent?
9. Act 5. Duo. Tes jours et ceux de ton complice
10. Act 5. Duo. La mort! Ce mot naguère
11. Act 5. Duo. Zayda!
12. Act 5. Duo. Son âme noble et fière
13. Act 5. Duo. Entends-tu, Zayda
14. Act 5. Barcarolle. O matelots, ô matelots...
15. Act 5. Trio. Camoëns!
16. Act 5. Final. A moitié du chemin ces remparts

Zayda, a moorish girl - Vesselina Kasarova
Dom Sébastien, king of Portugal - Giuseppe Filianoti
Dom Juam de Sylva, Grand Inquisitor - Alastair Miles
Abayaldos, a chieftain - Simon Keenlyside
Camoëns, a poet - Carmelo Corrado Caruso
Dom Henrique - Robert Gleadow
Dom Antonio/Fist Inquisitor - John Upperton
Second Inquisitor - Lee Hickenbottom
Ben-Sélim - Andrew Slater
Dom Luis - Martyn Hill
Soldier - Nigel Cliffe
Third Inquisitor - John Bernays


The Royal Opera Chorus
The Orchestra of the Royal Opera House
Mark Elder
Recorded live at the Royal Opera House, Covent Garden

A professional recording of this opera has been missing from the catalogue for altogether too long. Thanks be to Opera Rara for yet another noble effort! The presentation is up to the high standard that they have set for themselves, including a lavishly illustrated, multi-language libretto with a fascinating essay by Jeremy Commons. The score ranks with Donizetti's best, naturally nearer to "La favorite" than to "Lucia." There are melodies galore and plenty of musical place settings, be it Iberia or Morocco. The complete ballet music is included. I followed the recording with the Ricordi Critical Edition of the vocal score and can testify to the performance's completeness. Conductor Mark Elder draws an impassioned performance from the Orchestra and Chorus of the Royal Opera House, Covent Garden. Of the principals, honours go to Giuseppe Filianotti in the title role for his dramatic conviction and clear, ringing tone; and to Simon Keenlyside as the beautifully sung, but menacing, villain. Alastair Miles plays the other villain equally well. As the heroine, Vesselina Kasarova offers plenty of passion in a language that sounds only vaguely like French. I understand that Carmelo Corrado Caruso was a last minute replacement who left me wondering if it was really that difficult to find someone to step in for a concert performance. His sense of pitch is so imprecise that his melodies come accross only in the orchestral accompaniment. It really is too bad as this is the only blight on this recording. However, this should not dissuade a purchase of this set, even if I have knocked off of star on his account. This is an enjoyable and welcome addition to my opera collection. ---S. Wells

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