Composer: Vincenzo BELLINI
Works: I Capuleti e i Montecchi
Performers: Giusy Devinu (soprano), Anna Caterina Antonacci (mezzo-soprano), Luca Canonici (tenor), Francesco Musinu (baritone), Giacomo Prestia (bass)
Recording: Orchestra Sinfonica e Coro del Teatro di San Carlo di Napoli, conducted by Angelo Campori, recorded live on 7th March 1995 and remastered
Label: Warner Fonit 8573 87485
Vincenzo Bellini’s I Capuleti e i Montecchi stands as a cornerstone of the bel canto repertoire, encapsulating the emotional turbulence of Shakespeare’s ill-fated lovers within a uniquely Italian context. Composed in a whirlwind of six weeks and drawing from earlier works—both his own and those of others—this opera embodies the urgency and fervor of Bellini’s melodic genius while grappling with the constraints of time and resource. The historical backdrop of its creation reflects a composer at the height of his creative powers yet under the pressure of immediate necessity, leading to a score rich in lyrical beauty albeit occasionally lacking in cohesion.
The recording under review features a commendable cast, yet the performances offer a mixed bag of insights into the characters and their emotional landscapes. Anna Caterina Antonacci, as Romeo, showcases a vivid emotional palette, though her tendency to push high notes into the realm of the strident detracts from the lyrical elegance that one yearns for in Bellini’s lines. Her interpretation is daring, embracing the challenges of the role, yet it occasionally sacrifices beauty for bravado, particularly in the explosive moments that should showcase the delicate balance of strength and vulnerability inherent in Romeo’s character. This contrasts sharply with her more subtly crafted moments, such as the soft rendition of “Asclota,” where she truly embodies the yearning spirit of her character.
Giusy Devinu’s portrayal of Giulietta offers a more consistent vocal line, her opening aria a highlight that captures the essence of her character’s plight. However, her diction falters at times, blurring the emotional clarity that Bellini’s text demands. The expressiveness of her vocal line is commendable, yet the lack of precision in articulation can obscure the poignancy of her situation—betrothed to Tebaldo yet in love with Romeo. Luca Canonici’s Tebaldo, while not possessing the vocal heft of his counterparts, grows more compelling as the opera unfolds, demonstrating a commendable evolution from a somewhat unremarkable start to a more nuanced interpretation by the final scenes.
The orchestral support, provided by the Orchestra Sinfonica e Coro del Teatro di San Carlo di Napoli, presents an interesting dichotomy. While the orchestration is undeniably lush, the balance between orchestra and singers often skews, with the ensemble at times overwhelming the delicate vocal lines. This is particularly evident in the climactic moments where the emotional stakes are highest; the orchestra’s presence, though intended to heighten drama, can instead obscure the singers’ messages. Bellini’s reliance on orchestral texture to enhance vocal lines is crucial, yet here it falters, lacking the clarity and immediacy necessary to fully engage with the singers’ emotional expressions.
The sound quality of this live recording presents its own set of challenges. The microphones seem to place the singers at a distance, diluting the impact of their performances. The audience’s presence, while adding a layer of authenticity, is marred by intrusive coughing that disrupts the immersion into the opera’s world. This aspect alone could deter listeners accustomed to the pristine sound quality of studio recordings, leaving one longing for a more refined auditory experience.
I Capuleti e i Montecchi has seen numerous recordings, each offering a distinct interpretation of Bellini’s masterful score. While this live performance captures the opera’s essence, it ultimately suffers from imbalances in orchestral support and occasional vocal inconsistencies that hinder its potential. The moments of beauty and emotional resonance are undeniably present, yet they are interspersed with technical shortcomings that prevent a fully cohesive experience. A recording that merits attention for its historical significance and the earnest efforts of its performers, it nevertheless falls short of establishing itself as a definitive interpretation of Bellini’s poignant work.
