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On the Wings of Song Bergamo
Teatro Donizetti
11/30/2025 -
Gaetano Donizetti: Ha negl’occhi un tale incanto [1, 2] – Mentre dal caro lido [5] – Lamento di Cecco da Varlungo [4] – Faut‑il renfermer dans mon âme [2] – Sull’onda tremola, ride la luna [3] – Philis plus avare que tendre [3] – Un baiser pour espoir [6] – L’addio [3, 6] – La zingara [1] – O Cloe, delizia di questo core [5] – Oh vieni al mare! [3] – A piè del mesto salice [6] – Bolero. L’amante spagnuolo [1] – La Fiancée du timbalier [3] – Qual colomba che fugga [4, 5] – La Bohémienne [2] – Te dire adieu [6] – L’ora del ritrovo [1] – Pas d’autre amour que toi [3] – Licandro pastorello [1] – Il pegno [5] – Sin che fedele [1‑6] – Rataplan [1‑6]
Lucrezia Tacchi [1], Cristina De Carolis [2] (sopranos), Eleonora de Prez [3] (mezzo), Cristóbal Campos Marín [4] (tenor), Pierpaolo Martella [5], Francesco Bossi [6] (baritones), Giulio Zappa (piano)
(© Photo Studio U.V./Courtesy Donizetti Opera/Fondazione Teatro Donizetti)
The British label Opera Rara is preparing an important but neglected part of Donizetti’s prodigious output: his songs. Already several volumes have been released or announced; they feature such major artists as tenors Lawrence Brownlee, Michael Spyres, baritone Nicola Alaimo, soprano Ermonela Jaho and contralto Marie-Nicole Lemieux. Donizetti wrote over two hundred songs, yet few are known, even to bel canto and Donizetti lovers.
The singers at Bottega Donizetti, a training program for young artists, gave a concert presenting over twenty of these songs with their teacher Giulio Zappa at the piano. What was truly impressive was the high level of artistry. Heard in the double bill Il campanello/Deux hommes et une femme, some did not make a huge impression. However, in this intimate setting, it was a different story. Every single one displayed more artistic facets than in the short operas.
Mezzo Eleonora de Prez was a revelation. In Il campanello, she played the minor role of Madame Rosa, mother of the perfidious bride. Her charisma was palpable, despite the brevity of her role. She was the mother‑in‑law from hell, one worthy of the fickle Serafina. Endowed with a beautiful, warm mezzo, de Prez sang with impeccable diction and elegance. She promises to be a phenomenal bel canto mezzo. Among the songs she sang, Oh vieni al mare! was especially captivating.
Soprano Lucrezia Tacchi has a beautiful timbre, typical of a soubrette, but here she had the unfortunate tendency to sing sharp. As in Il Campanello, she sounded shrill in the upper register. However, she was at her best in two Spanish-sounding songs, La zingara and Bolero. L’amante spagnuolo, where she was more effective, thanks to her winning charm and charisma.
Cristina De Carolis was a gorgeous Rita in Deux hommes et une femme. She was even more impressive in this song recital. She was especially appealing in La Bohémienne, where she conveyed mystery and natural charm without any distracting nonsense or excess. Strangely, she was not given much to sing in this program, but she too is one to watch.
More than the other young singers, tenor Cristóbal Campos Marín made a strong impression as the battered husband in Deux hommes et une femme. Here, the songs allocated to him did not provide much room for dramatic interpretation, but they did allow him to present the beauty of his formidable instrument. This young tenor will go far, given the beauty of his timbre, impeccable technique and his arresting stage presence.
It was delightful to have heard two excellent baritones with vastly different voices. Pierpaolo Martella was the cuckolded apothecary in Il campanello, an ungrateful, mostly acting role, where he impressed with his acting skills. Finally, he had a chance in this program to show off a polished and elegant bel canto baritone, ideal for L’elisir d’amore’s Belcore and Don Pasquale’s Malatesta.
Francesco Bossi, who showed great theatricality in Il campanello in his travestimenti and general clowning around, displayed in this program a stunningly beautiful dark baritone, almost a bass baritone, one that contrasted gorgeously with Martella’s lighter baritone.
All six soloists had a ball singing the final song, Rataplan, a joyous variation of the famous aria from La Fille du regiment. The recital would not have been as successful without the attentive support of Giulio Zappa, who showed he was both an excellent accompanist and pedagogue. Singers with great futures are now being lovingly prepared by the admirable Bottega Donizetti.
Ossama el Naggar
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