Opera Rara ORC 26
Emma	Nelly Miricioiu
Adelia	Maria Costanza Nocentini
Ruggiero	Bruce Ford
Corrado di Monferrato	Roberto Servile
Aladino	Colin Lee
Conductor	David Parry

Like all of Mercadante's familiar operas, Emma d'Antiocchia contains many individual pieces of great beauty, especially the aria for Ruggiero, in which he is joined by Aladino and the final aria for Emma, which becomes a kind of duet with Adelia. There also are several lovely duets for Ruggiero and Emma, as well as one for him and Adelia. Finally, Corrado's two arias have much to recommend them.

From time to time, I will be able to include "guest reviews" on this web site. This is one of these times, and I have the pleasure of posting a review of Emma d'Antiocchia by Mr. Van Millin:

The new Opera Rara recording, Mercadante's 1834 Emma d'Antiocchia, is definitely a must have for anyone with even a passing interest in Bel Canto opera. Opera Rara has again come up with a winner: wonderful music, excellent cast, superb recording and overall performance, and a packaging that leaves others in the industry behind in the dust. These are expensive sets, but worth every penny considering the quality of what you get.

Mercadante's opera is quite superb throughout, with interesting orchestration and wonderful pacing. Melodically, he is not always as interesting as Bellini or Donizetti, but his harmonics are more adventurous, and the big moments are always met head on. The second act is almost one long span of ever increasing dramatic and melodic tension, and the final scene is a supremely beautiful aria for the Prima Donna that does not bring down the curtain as would be expected, but leads into a duet and a tense finale.

Some critics of the concert performance in London bashed Mercadante's score as derivative of Rossini, inexpressive, and formulaic. Apparently they were not listening very closely or with open minds. A cursory perusal of the score shows page after page of eloquent writing that is highly effective. Rossini is not really in evidence, nor Bellini. There is some fraternity with Donizetti, but then, in 1834, why wouldn't there be? But there is definitely a discernably individual hand at work.

The plot is convoluted but can be distilled into simplicity: Emma and Ruggiero loved each other and were forced to part. Now, five years later, they are confronted with each other, Emma married to Corrado, and Ruggiero about to marry Corrado's daughter by his first wife, Adelia. What is important in Romani's libretto is what was becoming increasingly important in Italian opera into the 1840's: the depiction of emotions that are so heightened that the individual can no longer control them but is, instead, controlled by them. thus it is a product of the new Romanticism and an important stepping stone to Mercadante's Il Giuramento and to early Verdi. Nelly Miricioiu is absolutely luminous in the title role. She sings with unwavering intensity and imagination and, even at this stage of her career, has superb control of her instrument. In a role originally created by Pasta, Miricioiu is able to span long lines, handle the wide intervals and sudden declamations as well as still refine her voice to a touching piano and phrase, rather than just spit out, her coloratura and trills. Her recitative and preghiera in the finale with its syncopated cabaletta full of roulades and trills is just the crowning achievement of a truly great performance. Her three duets with Ruggiero and magnificent too, each done with supreme understanding of her part in them and of the style of the piece.

Bruce Ford is again his usual dependable self as Ruggiero, a role created by Donzelli. His ability to combine Bel Canto suavity with heroic phrasing is quite unique among today's tenors. His opening aria and cabaletta, among the best items in the score, are excellently done, and he, like Miricioiu, also knows how to be a good partner in duet.

Even without first rate vocal material, I have often enjoyed the verbal acuity and fine line of Roberto Serville, and here is no exception. In an extremely important role, with two grand arias, he acquits himself well, though a bit more tonal opulence would have been appreciated. But in compensation, we get a fully rounded characterisation and superb diction.

Maria Costanza Nocentini takes on the role of Adelia, created by the great Tadolini at the start of her brilliant career. Her role consists of two duets and the two ensembles, so it is important, but lacking in solo opportunity. Despite this, Nocentini, like Tadolini, makes an excellent impression with her tangy tone, exccellent diction and sense of style, and ability to project her character.

Chorus and orchestra, especially the bass clarinetist and harpist, are superb. Parry is his usual self; he moves things along while still enabling the singers to phrase with freedom. Much more satisfying than many a more imposing conductor.

I can not recommend this recording highly enough.

Van Millin

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