Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

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Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

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Elisabetta regina d'Inghilterra, marked Rossini's first venture into the San Carlo Theatre in Naples, the most glamorous theatre of that time. The famous impresario Domenico Barbaja, had carefully prepared the launching of the rwenty-three year old composer -with sumptuous scenery, designed by a celebrated archirect, Antonio Niccolini, and engaging a firsr-rate cast. Foremost was Isabella Colbran, who later became Rossini's wife; and tenors — Andrea Nozzari and Manuel Garcia.
Garcia, later, was the first Almaviva in // Barbiere and father of two legendary singers, Malibran and Viardot.
It was a very important step for Rossini who had to overcome the preferred music of the Neapolitan school, particularly Paisiello's.
On October 4, 1815 the production of Elisabetta regina d'Inghilterra, absolutely astounded the public and launched Rossini as the most popular and fashionable composer.
The new opera (based on a libretto by Giovanni Schmidt from a drama by Carlo Federici - who was inspired by Sophia Lee's novel, The Recess) launched a new kind of a historical music drama rhat became widely popular.
Above all, it inspired Donizetti to compose more operas based on the English queen —such as Elisabetta al Castello di Kenilworth, Maria Stuarda, Roberto Devereux.
Thus, the regal primadonna role was born, in homage to a great and talented interpreter, Isabella Colbran. She was described as a woman of imposing and authoritative beauty who was able to express superiority and rage with a mere flashing of her Spanish eyes.
A peculiar feature of Rossini's stylistic turn is his ability for using material from other previously composed operas and making them into entirely new operas —which still deceive even today's listeners. Jusr think of the Aureliano in Palmira overture that echos the overture of // barbiere; or the metamorphosis of Elisabetta's cabaletta, "Questo core", into Rosina's cheeky "Io sono docile".
Rossini's skill in translating a piece of music into another one endowed with completely different expressiveness was his secret.
Such a clever mutation was covered in the choice of a minutely detailed and thickly flourished vocal writing that he was able to shade and radically transform an all too-well known composition into a new one.
Beginning with Elisabetta regina d'Inghilterra, Rossini's virtuosity gains a psychological strengrh (rarher different from the decorarive style used during his belcanto period).
This presenr Turin production was a resounding success, thanks to a great cast. The aristocratic beauty of Cuberli was stylistically faultless, while Rockwell Blake outlined the role of Norfolk with impressive virtuosity and extreme refinement. Dessi interpreted Matilde with a dazzling timbre density and expression, while Savastano conquered the vocal demands of Leicester's role. Adriana Cicogna and Mario Bolognesi contributed favourably to Enrico's and Guglielmo's roles, as well as the alert conducting of Gabriele Ferro. Gianfranco de Bosio's artistic direction, Aldo de Lorenzo's scenography and historical accuracy of Zaira de Vincentiis' costumes completed the circle of an unforgettable productions of a splendid Rossini, finally restored to his proper honours.

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Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

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Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

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Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

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Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

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