Composer: Gian Francesco Malipiero
Works: I Capricci di Callot (1942)
Performers: Martina Winter (soprano), Markus Müller (tenor), Bernd Valentin (baritone), Burkhard Ulrich (tenor), Jörg Sabrowski (baritone), Gro Bente Kjellevold (mezzo-soprano), Thomas Schmid-Kapfenburg (piano), Kiel Philharmonic Orchestra, Peter Marschik (conductor)
Recording: Live, Opernhaus Kiel, May 1999
Label: CPO
Gian Francesco Malipiero, a pivotal figure in 20th-century Italian music, is often overshadowed by his more prominent contemporaries. His operatic oeuvre, while not as frequently staged or recorded, reveals a profound rethinking of dramatic structure and musical language, particularly in works such as I Capricci di Callot. Composed during a tumultuous historical period marked by fascism in Italy, this opera diverges from conventional narratives to embrace a more fragmented, dreamlike quality, echoing Malipiero’s innovative “panel structure.” This recording, featuring a live performance from the Kiel Philharmonic, captures the essence of Malipiero’s complex sound world and the distinctive character of this opera.
Peter Marschik’s conducting imbues the performance with both vigor and sensitivity, navigating the score’s rich tapestry with a deft hand. The orchestration in I Capricci di Callot is particularly noteworthy; the orchestra serves as a vital character in the drama, often expressing the inner lives of the protagonists through lush, colorful textures. The orchestral introduction, a seven-minute prelude, sets an evocative tone, encapsulating the ethereal quality of the Commedia dell’Arte with its swirling motifs and rhythmic playfulness. Notably, the “Danza funebre in morte di una bambola” interlude stands out as a haunting highlight, underscoring the opera’s blend of the grotesque and the profound.
The vocal performances are commendable across the board, with Martina Winter as Giacinta and Gro Bente Kjellevold as the Old Beatrice particularly shining. Winter’s portrayal of Giacinta captures the character’s duality – both the naïve dreamer and the heartbroken lover – with a clarity of tone and emotional depth that resonates throughout her arias. Kjellevold’s Old Beatrice, on the other hand, offers a contrasting gravitas, her rich, resonant voice bringing a sense of wisdom and melancholy to the proceedings. The ensemble singing is robust, with moments of exquisite harmony that highlight Malipiero’s lyrical gifts. Each character, whether through solo moments or duets, exhibits a distinct musical identity, contributing to the opera’s kaleidoscopic effect.
Recording quality merits special mention; the sonic clarity of this live performance belies its context, with the orchestra’s instrumental colors vividly captured against the voices. The audience’s silence enhances the immersive experience, allowing the subtleties of the score to emerge without distraction. The engineering effectively balances orchestral and vocal forces, ensuring that neither drowns out the other, a technical achievement that many live recordings struggle to attain.
While comparisons to other recordings of Malipiero’s operas may be sparse, the depth and nuance found in this rendition of I Capricci di Callot stands as an exemplary introduction to his work. The opera’s intricate interplay of character and mood, coupled with the performers’ earnest interpretations, invites listeners into a uniquely imaginative realm. Malipiero’s ability to weave together the bizarre and the sublime is realized here with remarkable clarity, making this recording not just a historical artifact but a vibrant, living interpretation of his artistic vision.
This compelling performance, with its splendid orchestral support and exceptional vocal portrayals, firmly establishes I Capricci di Callot as a significant work within the operatic canon. The recording is an illuminating experience that honors Malipiero’s legacy while showcasing the talent of the performers and the keen insight of the conductor. An essential addition to any serious collection, it reveals the beauty and complexity of a composer often relegated to the sidelines of musical history.
