Works by Ermanno Wolf-Ferrari: Captivating Interpretations by Valdengo, Rizzieri, and Orchestra Sinfonica di Torino

Composer: Ermanno Wolf-Ferrari
Works: Il segreto di Susanna; Sinfonia from La Favorita; Preludi from Rigoletto, Un Ballo in Maschera, Aida; Coro a bocca chiusa from Madame Butterfly
Performers: Giuseppe Valdengo (tenor), Elena Rizzieri (soprano), Orchestra Sinfonica di Torino della RAI
Recording: Recorded Turin: 10 November 1954; Additional recordings: 23 November 1955, 22–24 February 1954, 16 November 1954, 18 December 1956
Label: WARNER

Ermanno Wolf-Ferrari’s “Il segreto di Susanna,” composed in 1907, occupies a curious yet charming niche within the operatic canon. This one-act intermezzo, set against a backdrop of lighthearted domestic intrigue, showcases Wolf-Ferrari’s gift for melodic invention and orchestral color. The plot, though superficially trivial—a young husband’s jealous misinterpretation of his wife’s tobacco habit—reflects an early 20th-century sensibility that marries operatic tradition with a more modern, comedic touch. It is precisely this juxtaposition of frivolity and sophistication that makes “Il segreto di Susanna” a delightful encore in the world of short operatic works.

The performance captured in this recording, featuring tenor Giuseppe Valdengo as Count Gil and soprano Elena Rizzieri as the Countess Susanna, reveals a commendable attention to diction and character, which is particularly vital in a work where clarity of text enhances the humor and poignancy of the narrative. Valdengo’s portrayal of a husband oscillating between hilarity and jealousy is imbued with an amiable charm, particularly evident in his aria “Si, ben lo conosco l’ odor molesto,” where his phrasing and delicate tonal quality effectively convey the character’s confusion. Rizzieri’s portrayal of Susanna brings vivacity and a cheeky allure, particularly during the duet “Il dolce idillio, dimmi, rammenti,” where her vocal interplay with Valdengo is marked by excellent dynamic control and balance.

The orchestral interpretation led by conductor Angelo Questa deserves particular mention for its spirited execution. The overture’s brisk tempo sets a buoyant tone, though one might question the slightly accelerated pace, which, while invigorating, raises concerns about the natural flow of musical phrases. The wind section, in particular, plays with an exuberance that sometimes borders on the frenetic, potentially overshadowing the lyrical nuances intended by the composer. Nevertheless, Questa’s orchestral management provides a solid framework that supports the vocalists effectively, allowing the melodic lines to resonate with clarity.

While the recording quality, a remaster from 2002, lacks the vibrancy of contemporary standards, it succeeds in capturing the essential character of the performance. The absence of audience noise, often a double-edged sword in concert recordings, works in favor of this intimate work, allowing for a focused listening experience that highlights both the orchestral and vocal elements. However, the lack of a libretto translation is a noticeable omission, as it diminishes the accessibility of the humor inherent in the text.

Supplementing Wolf-Ferrari’s work are selections from Donizetti, Verdi, and Puccini, which, while adding to the disc’s length, do not quite match the vitality of the main piece. The orchestral preludes, while well-executed, often lack the depth and color that characterize the best interpretations of these works. The prelude to “Rigoletto,” for example, feels rushed, glossing over the dynamic shading that could elevate it from mere filler to a stand-alone performance.

This recording of “Il segreto di Susanna” may not be a definitive account that demands a place in every collection, yet it serves as a charming introduction to Wolf-Ferrari’s operatic world. The performance is marked by admirable vocal clarity and orchestral vigor, providing a delightful listening experience that, while not groundbreaking, showcases the merit of this oft-overlooked composer. As an entry point into the operatic tradition, it offers enough charm and wit to warrant appreciation from both enthusiasts and casual listeners alike.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.