Editions: AURELIANO IN PALMIRA by Rossini – Aureliano in Palmira occupies an important position in Rossini's long catalogue –
By William Fratti
Aureliano in Palmira occupies an important position in Rossini's long catalogue, since although it is an old-fashioned story, Romani's libretto is made up of rather modern verses and Rossini's music belongs to that romantic line which, having already begun with Tancredi, was composed a few months ago. first, it will continue up to Guillaume Tell.
It is no coincidence that many of the pages written for this work will be revisited and reused for other masterpieces. The most emblematic examples, just to name a few, are Arsace's symphony and rondo which will find two new beginnings, first in Elizabeth Queen of England, then in Il barbiere di Siviglia. But this is only a small part: a careful ear could identify many others.
The Festival Rossini in Wildbad occupies an important place alongside its older brother from Pesaro, as it makes use of several revisions on the scores, with contributions from other sources, demonstrating that there is still much to be said about the music of the brilliant composer. On this occasion, recorded live in July 2017, Ian Schofield's revision for Edition Peters was used.
José Miguel Pérez-Sierra, leading the Virtuosi Brunensis, conducts with extreme attention to detail, especially in accents and intentions, resulting particularly homogeneous despite the change of character, from the martial to the dramatic, from the tragic to the pathetic.
The title role is entrusted to the excellent Juan Francisco Gatell, who clearly demonstrates his qualities as a Rossini interpreter in the cantabili, in musical correctness, elegance, style and phrasing. Unfortunately he has to deal with a larger part of himself, written for baritenor, with jumps from low baritones to extreme high notes, such that he appears excessively tired, not very solid in the lower notes and too tight or even flatter in the higher ones, but this is not much, as these characteristics are relegated to arias only, while duets and ensemble pieces are excellently performed.
Silvia Dalla Benetta is a confident Zenobia, capable of taking on harsh colors in the more martial parts, to leave room for soft and refined nuances in the sweeter and more pathetic passages. Her Rossini is of excellent workmanship, well centered in intentions and phrasing, aided by excellently executed agility of strength, enriched by interesting variations.
Marina Viotti is to be considered a true champion. Her Arsace di lei, the actual protagonist of the work, has such a romanticism that it is seductive, supported by an absolutely impeccable technique.
We hope to be able to listen to these artists again soon, not only in Bad Wildbad, but also in Pesaro.
Ana Victoria Pitts is a rather correct Publia, while Baurzhan Anderzhanov's High Priest is less centered. Xiang Xu's Oraspe and Zhiyuan Chen's Licinio are effective. Good performance by the Camerata Bach Choir directed by Ania Michalak.
William Fratti
PHOTOS Ed. Naxos