Track Listing

Disc 1:

1. Overture - Royal Philharmonic Orchestra
2. Intro E Duettino: Mai Non Rise Un Piu Bel Di - Ambrosian Singers
3. Intro E Duettino: Tesoriere Garbatissimo - Ambrosian Singers
4. Scena E Cavatina: Sua Maesta, Signori - Ambrosian Singers
5. Scena E Cavatina: Compagnoni Di Parigi/Verra Pur Troppo Il Giorno - Ambrosian Singers
6. Recitativo: Al Doppio Matrimonio/Sire Tremante Io Vengo - Jose Carreras
7. Scena E Duetto: Provero Che Degno Io Sono/Infiammato Da Spirito Guerriero - Jose Carreras
8. Scena E Cavatina: Ah, Non M'hanno Ingannata!/Grave A Core Innamorato - Fiorenza Cossotto
9. Coro E Cavatina: Si Festevola Martina - Ambrosian Singers
10. Coro E Cavatina: Non San Quant'io Nel Petto/Non Vo' Quel Vecchio, Non Son Si Sciocca - Ambrosian Singers
11. Recitativo E Sestetto: Ebben, Giulietta Mia - Jose Carreras
12. Recitativo E Sestetto: Cara Giulia, Alfin Ti Vedo.../Recitativo E Terzetto: In Te, Cugina... - Jose Carreras
13. Recitativo E Terzetto: Bella Speranza Invero - Jose Carreras
14. Recitativo E Duetto Buffo: Quanto Diceste Mostra Un Gran Talento - Ambrosian Singers
15. Act I: Recitativo e Duetto buffo: Diletto genero, a voi ne vengo - Ambrosian Singers
16. Finale I: Tesorier! Io Creder Voglio/In Qual Punto Il Re Ci Ha Colto!/Affidate Alla Mente... - Jose Carreras

Disc 2:

1. Coro Ed Aria: Ma Le Nozze Non Si Fanno? - Jose Carreras
2. Coro Ed Aria: Pietoso Al Lungo Pianto/Deh, Lasciate A Un'Alma Amante - Jose Carreras
3. Recitativo E Duetto: Bene, Scudiero, Vi Ritrovo In Tempo/Un Mio Castello!... - Jose Carreras
4. Recitativo E Duetto: Tutte L'Armi Si Puo Prendere - Ambrosian Singers
5. Duetto: Ch'io Non Posso Il Ver Comprendere? - Ingvar Wixell
6. Recitativo Ed Aria: Nipote, In Quest'istante - Wladimiro Ganzarolli
7. Recitativo Ed Aria: Perche Dunque Non Vien?/Si, Scordar Sapro L'infido - Ambrosian Singers
8. Scena E Duetto: Oh Me Felice Appieno!/Ah! Non Sia, Mio Ben, Fallace - Jose Carreras
9. Recitativo E Settimino: Si, Caro Conte! - Wladimiro Ganzarolli
10. Recitativo E Settimino: A Tal Colpo Preparata - Wladimiro Ganzarolli
11. Finale II: Sire, Venne In Quest'istante/Eh! Facciamo Da Buoni Amici - Wladimiro Ganzarolli

Product Details

• Amazon Sales Rank: #327320 in Music
• Released on: 1989-10-19
• Number of discs: 2

Customer Reviews

Great Early Verdi with an Enjoyable Performance
While this is not necessarily the Verdi most are familiar with, this second opera is still very much an enjoyable Verdian opera. It will not take long to recognize the Rossini influence, however Verdi has polished the style and has made it his own. Being one of only two comedies he composed, it's lighter tones will further differentiate it from what one is accustomed to, but Verdi seems quite comfortable with it. As for the performance, while I've only heard this one, I liked it very much.

This is supposed to be Verdi at his worst???
Most opera lovers know that this was Verdi's second opera and first fiasco. The failure of Un giorno di regno hit him so hard that he almost gave up his career as a composer. As reasons for the fiasco we are told that while Verdi was composing this opera buffa, his wife and two children died. It is understandable that someone dealing with such personal tragedy may not be in the best mental state to write a comic opera. And that is all most of us know about this opera.

But after hearing this recording, I think it is completely unfair to apologize on Verdi's behalf. Un giorno di regno is absolutely delightful. Sure, it's not hysterically funny, like Rossini's comic operas, but the music is extremely well-crafted. Verdi really did know what he was doing even though he was still in his 20s. Listen to the Marchesa's beautiful big aria in Act II, with its graceful chromaticism, ornamentation and cadenzas. It's gorgeous stuff, almost reminiscent of Bellini. There is plenty of wonderfully energetic music. Perhaps taking his cue from Rossini and La Cenerentola, Verdi wrote TWO wonderful buffo duets (Treasurer/Baron). Many of the pages of Il corsaro, Alzira, Attila and Giovanna d'Arco strike me as uninspired "filler". But I do not get that feeling with Un giorno di regno. I think Verdi did a great job... mostly...

Bless his heart, he did not quite know the capabilities of the human voice yet. The soprano roles are actually quite low, with the Marchesa regularly dipping down to low Cs, Bs and As. The soprano lead in Verdi's first opera, Oberto, also descends below the staff on a regular basis. The men's roles, however are all very high. Verdi did not write many high Cs for his tenors. I can think of one case in which Verdi asks his tenors to sing a high C: Otello ("cortigiaaaaaNA!") and a high D: I vespri siciliani. But here Verdi asks the tenor to sing a high C and hold it (in the act II aria). All three of the bass/baritone buffos regularly ascend to high Es, Fs and F-sharps.

Now, the performance. It's marvelous. First of all, Fiorenza Cossotto is just perfect as the Marchesa. Beautiful tone, personality, coloratura, high notes, low notes -- she's got it all. Not a single note is strained or forced. Jessye Norman is quite obviously out of her element here. Much of what she does is lovely and cute, but when surrounded by the likes of Cossotto and Carreras, it becomes apparent that she is simply not very idiomatic here. The Italian is not good, especially in recitatives. Her intonation is sometimes off. But one can hear that she is an intelligent singing actress.

Carreras is heavenly. In 1974 he was at the beginning of his career and the voice is handsome, full, unforced and soaring. The high C I mentioned earlier is magnificent! Ingvar Wixell does a great job as well. His voice is resonant, full of color and his delivery is appropriately humorous. He handles the high tessitura of his aria very skillfully. Vicente Sardinero was, I think, a very underrated artist. He had a glorious baritone, well displayed on the recording of Puccini's second opera, Edgar. Here he is the Treasurer and sings beautifully. Vladimiro Ganzarolli is the Baron. Gorgeous bass! He also handles the high tessitura wonderfully and infuses his delivery with great comic colors.

You just can't lose with this recording. The music is delightful -- a real testament to what Verdi was capable of, even in the worst of circumstances. This opera really needs no apology. The performances are great. The price is low. There is just no down-side. Get it and let us know what you think of it.

THIS OPERA IS GREAT
If you want to know what joy of singing is, try listening to this opera. It's really great. Terrific. You'll find joy in it, and you'll never think you've lost your money because you've bought it.