Leila Fernanda Costa

Adel Dino Di Domenico

Isacchar Simone Alaimo

Fernando Armando Caforio

Orchestra Sinfonica di San Remo, Massimo De Bernart, cond.

Recorded live at the Teatro Chiabrera in Savona, Oct. 29 and 31, 1989. Released on Bongiovanni GB 2089 to 90-2

Giuseppe Apolloni was born in Vicenza on April 8, 1822, and died in that city on Dec. 31, 1889. He composed a total of 5 operas, only one of which, L'ebreo was successful. Here is a list of his operas:

Adelchi-Melodramma tragico in five acts: Vicenza-Teatro Eretenio-Aug. 16, 1852, revised Venice-Teatro La Fenice-Dec. 26, 1856

L'ebreo-Melodramma tragico in a prologue and three acts: Venice-Teatro La Fenice -Jan. 27, 1855,

Pietro d'Abano-Melodramma serio in three acts: Venice-Teatro La Fenice-Mar. 8, 1856

Il Conte di Königsmarck-Melodramma serio in a prologue and three acts: Florence-Teatro della Pergola-Mar. 17, 1866

Gustavo Wasa-Opera seria in two acts: Trieste-Teatro Grande-Nov. 16, 1872

L'ebreo remained in the repertory for close to 50 years, making it one of the most important works of by a contemporary of Verdi's. It was last revived in Vicenza in 1922, and then dissappeared for nearly 70 years, until the production in Savona.

I am very much indebted to Ann Feeney for permission to use the following review of the recording, which was originally posted on Opera-L.

I have to admit that I'd never heard of this opera before I picked it up from a pile of second-hand CDs. While I wouldn't go so far as to say that it's a neglected masterpiece, it's certainly worth listening to, for those interested in the Verdian period and style. It might not have much appeal if the cast were weak, unlike some of Verdi's more rugged works, but fortunately that's not the case with this recording.

The story is based on Bulwer-Lytton's (probably best known today for being the inspiration of the Bulwer-Lytton contest for bad writing) Leila or the Siege of Granada. The story takes place during the wars between the Moors under Boabdil and Ferdinando and Isabella. Issachar, a Jew, is plotting to get the Moors and Christians in Spain to destroy one another. His daughter, Leila, has fallen in love with Adel, a Moorish commander, and for this, he determines to kill her. When he and Leila go to the Spanish camps, Ferdinando betrays their previous agreement, and hands Issachar to the Head Judge. Issachar escapes, but Leila, whom he leaves, decides to turn Christian. Issachar and Adel return to the camp, Adel to rescue her, despite his fears that her conversion is not a forced one, Issachar to kill her. Issachar does kill her, and is taken to be burnt at the stake.

Adel is the only character who comes off as admirable or likable--Issachar is a rigid fanatic, Ferdinando treacherous in that ethic of "promises made to heathens aren't binding" that has proven so convenient to many political leaders. Leila is completely two-dimensional; we gather her conversion is sincere, but we don't find out what makes it sincere. The Head Judge is probably some ancestor of Verdi's Grand Inquisitor.

Is the work anti-Semitic? On one hand it seems to be more like Trovatore, the depiction of an individual who has reacted to persecution and injustice with a fanatical desire for revenge, but still suffering for the human price. Despite the title, he seems to be more "The Fanatic" than "The Jew." But Leila's conversion is rather troubling, in that it is automatic and apparently fully sincere, as though all that a good woman needs in order to convert from Judaism to Christianity is the exposure to Christianity, after which she will "see the light."

There is a good deal of very effective and moving music in this, as well as a fair amount of pedestrian music. Issachar's music is generally quite strong, and his character fairly well drawn. His aria in which he wonders if God demands Leila's death is truly moving. The ensemble in which Adel finds Leila in the Spanish camp, and asks if she is there as a prisoner or voluntarily is also quite powerful.

Alaimo does a magnificent portrayal of this role, with tonal beauty, vivid characterization, and strong acting ability. Costa has an occasional acidity in her voice, reminiscent of Scotto, and a few pitch problems, but does an acceptable to good job. Dino Di Domenico starts out a bit feebly, but as the opera progresses, shows off a powerful and well-handled tenor voice, with a heroic sound and plenty of tenorial squillo by the second and third acts. Armando Caforio as Ferdinando has a powerful bass voice and manages his aria well, but the voice itself sounds a bit unwieldy.

The Bongiovanni libretto has their usual mistakes in the libretto, with a few gender changes thrown in, as "he" becomes "she" and vice-versa a few times. My favorite moment is the translation of "Deh! vivi, o misera" as "Hey! live, oh miserable girl." "Deh" is one of those words that gets all kinds of translations into English, but I think "hey!" is not the best.

Recommended for those interested in rarities, lovers of the style of the mid 19th century, or for Alaimo fans.

Ann Feeney (afeeney@mcs.com)

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