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Opera Rara continues to explore the fascinating figure of Saverio Mercadante with this world premiere recording of substantial highlights from I Normanni a Parigi, written for Turin in 1832. With Rossini in retirement, Mercadante was then in competition with Bellini and Donizetti for the crown of Italian opera. As this work demonstrates, he was easily in the running. Mercadante expert Michael Rose describes it as ‘one of the highlights of this period’, scoring ‘a triumph’ at its premiere before circulating widely. The libretto (by Felice Romani, the finest practitioner of the art in his day) is set in Paris, following the death of the mighty King Charlemagne, with the city threatened and eventually besieged by Norman invaders. The complex plot centres on Charlemagne’s widow, Berta (sung by Judith Howarth), who was previously secretly married to Ordamante (Riccardo Novaro) in a relationship that produced her equally secret son, Osvino (Katarina Karnéus), now guarded by the loyal Odone (Barry Banks). When Ordamante leads the Normans against the Carolingian forces, father and son are pitted against each other, though the latter initially knows nothing of their relationship. The scene is set for personal and political drama of the highest order in this gripping drama from the heart of the bel canto repertoire.
This is the seventh opera in the Essential Opera Rara series and, once again, a vivid impression of the work is captured on a single disc, accompanied by a complete libretto and article by the eminent 19th century musical scholar, Jeremy Commons.
Saverio Mercadante: I normanni a Parigi
Act I Scenes 1-9: Introduction: Una Reggent debole (Chorus, Ebbone, Tebaldo, Berta, Odone, Osvino)
Act I Scene 9: Duet: Tu lo volesti (Berta, Osvino)
Act I Scene 9: Duet: Cielo, non v'ha fra gli uomini (Osvino, Berta)
Act I Scene 9: Duet: Regina!! … ancor ti supplico (Osvino, Berta)
Act I Scene 9: Duet: Tergi le amare (Berta, Osvino) - Act II Scenes 1-5: Tutti siam noi? (Ordamante, Chorus, Berta, Oddone …) - Act III Scenes 1-5: Siam giunti (Tebaldo, Ordamate …)
Act III Scene 5: Ah! mai non fia (Odone)
Act III Scene 5: Aria: Prendi tu la spada mia (Odone, Ebbone, Tebaldo, Chorus)
Act III Scene 5: Aria: Custodito in carcer cia (Chorus)
Act III Scene 5: Cabaletta: Se dar fede a' miei nemici (Odone, Tebaldo, Chorus) - Scene 6: Farmati, Odone (Osvino, Tebaldo, Chorus, Odone)
Act III Scene 6: Duet: Una preghiera ascolta (Osvino, Odone)
Act III Scene 6: Duet: Conte, l'onor to e reso (Tebaldo, Chorus, Osvino) - Scene 7: Morte! (Che sento!) (Berta)
Act III Scene 7: Trio: Che tento? che spero? (Berta, Osvino, Odone)
Act III Scene 7: Trio: Francesi … ascoltate … (Berta, Tebaldo, Chorus) - Scene 8: Cavalieri, accorrete, volate (Ebbone, Tebaldo, Odone, Chorus, Berta, Osvino)
Act III Scene 8: Trio: Vieni, Osvino: sol puo la vittoria (Odone, Chorus, Berta)
Act IV Scene 1: Buresca
Act IV Scene 1: Ove fuggo? e perche? (Ordamante, Beta)
Act IV Scene 1: Rigetti il cielo (Ordamante) - Scene 2: Qual voce! … (Berta, Ordamante)
Act IV Scene 2: Duet: Io t'amai: m'offriva Osvino (Berta, Ordamante)
Act IV Scene 2: Duet: Io ti lascio, e al con non oso (Ordamante, Berta)
Act IV Scene 4: Ul tuo sangue a me recasti! (Berta, All, Ordamante)
Act IV Scene 4: Aria: Ah! non mai … si ria non sono … (Berta)
Act IV Scene 4: Aria: Chi serbar puo asciutto il ciglio (All, Berta)
March 2011
“[Barry Banks's] incisive voice has the necessary agility...His vocal weight is enough for the more dramatic scenes...Karnéus brings flexibility to Osvino and her pleasing mezzo provides an attractive complement to Howarth's soprano...[Novaro] is worth waiting for. His well-bound tone, with its darkish tinge, brings strength to his interpretation”
Act I Scenes 1-9: Introduction: Una Reggent debole (Chorus, Ebbone, Tebaldo, Berta, Odone, Osvino)
