Composer: Domenico Cimarosa
Works: Overtures from Voldomiro, La Baronessa Stramba, La stravaganza del conte, Il matrimonio segreto, L’infedeltà fedele, Il ritorno di Don Calendrino, Il falegname, Cleopatra, Il convito, La vergine del sole, Il credulo, L’impresario in angustie
Performers: Nicolaus Esterhazy Sinfonia, conducted by Alessandro Amoretti
Recording: Recorded at Phoenix Studio, Hungary (6-9 April 2000)
Label: Naxos
Domenico Cimarosa (1749-1801) occupies a unique position in the pantheon of classical composers, straddling the worlds of late Baroque and early Romanticism with his operatic craft that once rivaled even Mozart in popularity. His operas, particularly Il Matrimonio Segreto, were celebrated for their melodic richness and deft orchestration. Yet, like many composers of his era, Cimarosa’s prodigious output—over 65 operas—has not all aged equally, leading to a survival rate that suggests a fleeting fame akin to the pop stars of today. This collection of overtures, while illuminating his stylistic consistency, raises questions about the enduring value of such repertoire beyond academic interest.
The Nicolaus Esterhazy Sinfonia, under the baton of Alessandro Amoretti, plays with an admirable dexterity, bringing a lively energy to these overtures. Each piece is characterized by Cimarosa’s hallmark traits: bright, buoyant melodies and a penchant for orchestral color. The ensemble navigates the textural intricacies with a polished finesse, particularly in the overtures to Il matrimonio segreto and Cleopatra, where the interplay between strings and woodwinds is particularly well captured. However, the repetitiveness of key signatures—five of the first six overtures are in D major—creates a monotony that challenges the listener’s engagement over the full disc duration.
From a technical standpoint, the recording quality is exemplary, offering a clear and spacious acoustic that allows the various instrumental timbres to shine. The strings exhibit a crispness that is satisfying, though at times they verge on being overly bright, which could distract from the subtler woodwind phrases. The engineering captures the ensemble’s dynamic range well, though it may benefit from a closer proximity to the brass, which can sometimes feel overshadowed in the mix.
While comparisons to other recordings of Cimarosa’s overtures are sparse, one might look to the efforts of orchestras such as the Haydn Philharmonic, which bring a more robust interpretative approach. The performances here, while competent, lack the interpretative depth that might elevate the listening experience beyond mere pleasantness. For example, the overture to La vergine del sole could have benefited from a more pronounced contrast between its lyrical sections and dance-like passages, lending a greater sense of drama to the unfolding narrative.
The collection undoubtedly serves as a valuable resource for those interested in Cimarosa’s contributions to the operatic genre, yet it may appeal primarily to niche audiences, particularly musicologists and dedicated enthusiasts of the late 18th-century operatic landscape. The overtures are well-crafted, yet their cumulative effect on this recording is somewhat diluted by their stylistic uniformity. While the Nicolaus Esterhazy Sinfonia delivers a performance filled with technical skill and buoyant energy, the overall impact remains limited by the repertoire’s inherent repetitiveness. Cimarosa’s overtures offer a glimpse into a vibrant musical past, but for the average listener, they may not provide enough differentiation to warrant repeated listenings.
