Mercadante: Didone abbandonata

I watched this opera dvd (https://www.amazon.com/Mercadante-Didone-abbandonata-Blu-ray-Various/dp/B07QSPJMZM/ref=sr_1_1?crid=3N8PTFUDP8WWT&keywords=didone+abbandonata&qid=1573321629&s=movies-tv&sprefix=didone+abband%2Caps%2C145&sr=1-1) a week after watching the Leonardo Vinci “Didone Abbandonata” (https://www.amazon.com/Didone-Abbandonata-Vinci/dp/B074BNFY8B/ref=sr_1_2?crid=3N8PTFUDP8WWT&keywords=didone+abbandonata&qid=1573320049&s=movies-tv&sprefix=didone+abband%2Caps%2C145&sr=1-2). This review/commentary will contrast and compare the two operas.The starting point is that both are based on the same Pietro Metastasio libretto. In the 1600's through the early 1800's, it was common for the same libretto/text to be used by numerous composers in writing an opera. This was normal practice. In fact, this libretto was used for over 60 composed operas (according to the booklet included in the Vinci dvd). Even Mozart used an existing libretto for his Clemenza da Tito opera. It wasn’t until the bel canto period that the texts were claimed/used by only one composer. (Note, that does not mean that there weren’t multiple operas by different composers using the same story/source material. That often happened- see, for example .) But in earlier times, the same libretto (with modifications) was utilized very often by different composers. This text is a good example of that- which is why I am comparing and contrasting them in this review.In this case, since I do not have available written texts for the two operas, I am relying on my memory of the texts. But the long and short of it is that most of the text is pretty much the same. So, the key is how the composers handled the material- and that is where the fun is in the comparison.The Vinci opera was about 100 years before the Mercadante opera, so, again, the comparison very much involves the different esthetic of opera at their respective times. The Vinci opera (1725 or thereabouts) is very much a creature of Baroque opera. In this case it means- a string of solo arias (almost all DA CAPO arias- which means that each one is fully repeated until the finale of the aria), only one or two duets, and no chorus. The instrumentation is sparse and there is much use of secco recitative.This Mercadante opera (1823) is more in the bel canto style. Here that means there are duets, trios, quartets, and chorus numbers as well as solo arias. And the arias are not da capo arias- they are more in the cavatina, tempo do mezzo, cabaletta style made famous/standard by Giacchino Rossini at this time. The structural variety as well as the enlarged orchestra and lesser use of secco recitative makes it much more musically entertaining. (In fact, my favorite form of opera is the bel canto style.) It has a significant first act finale and a chorus to end the opera. Classic bel canto style.Let me start with the overture. If you didn’t know this was by Mercadante, you would have sworn it was by Rossini. This is virtually a steal of a typical (and popular) Rossini overture. I am not complaining- the overture was terrific! Then the piece moves efficiently through its numbers with a very commendable variety. The music is wonderful- it is disappointing that this piece really disappeared from performance- but that was true of so many wonderful operas. The story is only moderately interesting (and I won’t bother to summarize it) but the music is delightful.The performance is, for me, quite enjoyable. There is a full set on a (constantly) revolving stage (unnecessary) with good costumes. The setting is quite vague- fairly modern (there is a refrigerator on the stage) but it doesn’t really matter. Frankly, for me, the story barely mattered (as the Metastasio text on which it is based just doesn’t work in these days). But the whole show is very entertaining. All of the singers are very good. I will point out that Carlo Allemano as Jarba substantially “overacts” but I suspect this is the fault of the stage director and not him. There are many gorgeous melodies here.A few technical matters. The picture and sound are excellent. The subtitles are very well done, and the booklet is informative. I will, again, voice my complaint that for an opera that has never been released on video (any format) or barely staged at all, a short video with the director/conductor with more background on the rare piece would have been valuable. But, Naxos doesn’t do that- they should.Overall, I thought the opera dvd was a significant success, even though the story doesn’t move me at all. Definitely worth watching.

Distasteful contemporary staging/performance. Very disappointing experience

Mercadante's operas are very rarely performed and when they are, it is in the modern. noisy and disgusting way that thisone presents. He has much better operas than this one, but this director wanted to experiment using original instruments and forgetting thta opera is also a visual experience and he gave us modern firearms, miitary parafernalia, an icebox and what not. The result is so noisy and disgusting that one ends up discrediting the opera , which to me,is any way very bad. I am 88 years old and I live in a small Caribbean island where operas are seen usually once in the year with local singers. I worked as a physician for 62 years in the local VA Hospital. I always managed to travel outside once or twice every year just to see operas. I have seen 77 operas in my life and I have heard, I believe, every opera that has ever been recorded. I do not know if the noticeable diminution of my passion for opera is due to my advanced age and disabilities or due to the modern opera directors. The last time that I saw anopera live was years ago at the Met. It was an incredibly bad production of Die Aegyptische Helena. I promised myself that that was the last time for me. And I have complied with my oath, except that occasionally I buy DVDs that make me sick, such as this one. I should add that I also love Ballet with the same passion as ever. But ballet directors do not do the things opera directors do. I even enjoy modern ballet.

Excellent product and service.

This is an opera from 1823 and so follows most of the conventions of what textbooks sometimes call the Code Rossini, although Mercadante has an individual and unjustly forgotten style. And it does so wonderfully that it makes you undersatnd why that 'Code' dominated opera in Italy for so long. In his day, the composer was nearly as much-appreciated as Rossini, Donizetti or Verdi (his career overlapped the career of all of these composers), and any of his operas show why. I find his music as excellent as any of those composers. His main characteristic is that his numbers are longer and more carefully composed than those of many composers of the day; I challenge you to listen to this opera an then reread and rethink everything you have ever read about what was so innovative about early Verdi and (especially) Bellini. I would go so far as to say that he writes the best music within the absolutely strict Code Rossini of any composer (unlike Verdi and even Donizetti, he never varied it). If you like Italian opera from the first half of the 19th Century, you need to hear this.Perhaps the most interesting thing for a fan of opera, though, is the libretto. There are times when, like many other 19th Century libretti, it doesn't make sense. But here, almost uniquely, it's possible to see why. The original libretto from which this was derived was written by the famous Metastasio, 99 years (!) before this opera was composed. But operatic expectations had changed in 99 years. Instead of a plot entirely carried by recitative, interspersed with arias in which the characters told the audience what they were feeling, by the time of this opera, the expectation was for duets, ensembles, choruses etc.And this is what makes some parts of the libretto so awkward. I watched this opera immediately after another composed in 1726 on the same libretto. To incorporate the many duets and other ensembles expected in the Code Rossini, three quarters of the original arias have been eliminated. To create these ensemble pieces, sections of the plot-advancing recitative have been used. And this leads to the very strange libretto; characters sing together lines only applicable to one of them (for example in the Act I finale all 6 characters sing that they are wracked by jealosy, where only two of them have any reason to be jealosu). Similarly three of the six characters of the original libretto have been reduced to line feeds, but suddenly sing lines referring to cut subplots.It would be really interesting to have such clear material on the origin and evolution of the libretti of other operas; it makes it much easier to understand and thus overcome their shortcomings. But at any rate, I'm sure it's one of the reasons this opera dropped out of the repertory; the music is so good (in the conventions of its time) it doesn't deserve to be forgotten; it;s better than much of eraly Donizetti, for example.The singers are superb, without exception. The production is set in modern times and rather modern too, on minimalist sets and the action, particularly towards the end, doesn't always match the libretto. And there are concrete mixers and scaffolding.

Alessandro De Marchi's conducting was tremendous, and makes this such a must have DVD. At first you could easily be fooled in thinking you were listening to a lost Rossini opera. The crescendo's and style are certainly an imitation of Rossini, and of course composers were riding on his success, until they found their own niche. Mercadante is no imitator though, and has great virtuosity and style. I was a bit apprehensive at first, thinking this being an early opera for him, and would it be too much like other early works of composers; but this is truly great entertainment.I was thinking of giving it 4 stars, because the singers at times are a little stretched, but truly they make great efforts, and as this a live recording, mistakes happen (but there are not many noticeable one's).As this is can be purchased from Amazon dealers at under £10 at present, I would recommend you but it - you will not regret it. It is such an enjoyable opera. I have watched it twice now (within a month), and enjoyed it greatly.It is just a pity NAXOS have not released this on CD - I would buy it.

Highly enjoyable early opera by Mercadante. Recommended for Bel canto fans.

NO CONOCIA ESTA OPERA DE SAVERIO MERCANDTE. ME HA PARECIDO MUY GRATAMENTE ESTA EDICION, PUES NO CONOCIA ESTA OPERA DE ESTE COMPOSITOR TAN INTERESANTE.LES ANIMO A PUBLICAR OPERA OLVIDADAS PARA EL CONOCIMIENTO DEL PUBLICO.ESTUPENDO,

divertimento