Mercadante: Zaira (Highlights) [Import]

Saverio Mercadante (Composer), David Parry (Conductor), Philharmonia Orchestra of London (Orchestra), Alastair Miles (Performer), Bruce Ford (Performer), Claire Wild (Performer), Colin Lee (Performer), Garry Magee (Performer), Majella Cullagh (Performer) | Format: Audio CD

Product Details

• Performer: Alastair Miles, Bruce Ford, Claire Wild, Colin Lee, Garry Magee, et al.
• Orchestra: Philharmonia Orchestra of London
• Conductor: David Parry
• Composer: Saverio Mercadante
• Audio CD (May 13, 2003)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Import
• Label: Opera Rara UK
• ASIN: B00008GQGP
• In-Print Editions: MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
• Amazon Best Sellers Rank: #203,923 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

10 of 10 people found the following review helpful:

4.0 out of 5 stars A Rare Treat, June 6, 2003

By 

dwadefoley "dwadefoley" (New York, New York United States) - See all my reviews

This review is from: Mercadante: Zaira (Highlights) (Audio CD)

Today, it is Bellini's Zaira that has been seen on modern stages, while Mercadante's has continued to molder in its grave; in the 19th century, Mercadante's was the one that enjoyed success. This recording is the first of a projected series of recordings ("Essential Opera Rara") in which Opera Rara records the major highlights from a particular forgotten work. A fine cast of Opera Rara mainstays, including the Irish soprano Majella Cullagh, the excellent tenor Bruce Ford, and bass Alistair Miles, interprets this interesting work with their usual attention to musical detail and dramatic realism. Aside from the rather disappointing final scene, in which the music does not quite capture the enormity of the tragic ending, the rest of the opera contains remarkably beautiful and enjoyable passages. Zaira's duet with Orasmane, her big tragic aria in the penultimate scene, and the exciting trio in Act II, are all remarkable for their emotional thrust and melodic inspiration. Mercadante's scrupulous attention to orchestration throughout the work is a treat.
The most impressive singing comes from bass Alistair Miles, who is wonderful in the Tamburini role of Orasmane. The difficult (and abundant) coloratura poses no difficulties for Miles, who also uses his voice with great sensitivity to emotion; the tender affection of Orasmane for Zaira, his consuming jealousy, and his remorse and shock after he murders her, are painted with a varied and subtle palette of vocal colors. Almost his equal is Cullagh, whose voice (or so it seems to me) is progressively becoming more at home in dramatic roles such as this. Her rendition of the character's final aria is a tour de force, and proves just how effective Mercadante's music is in the right hands. Bruce Ford and Gary Magee have relatively less to do than Cullagh and Miles, but both sing with their usual consummate artistry. As is always the case with Opera Rara, the presentation of the set is nonpareil, with sumptuous and highly evocative art gracing the box cover and a substantial booklet accompanying the recording.

7 of 8 people found the following review helpful:

4.0 out of 5 stars Well orchestrated opera not devoid of melodic enchantment..., November 17, 2003

By 

J. E. ASENCIO-NEGRON "9th Earl of Darquet" (Guaynabo, Puerto Rico USA) - See all my reviews
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This review is from: Mercadante: Zaira (Highlights) (Audio CD)

The plot of this opera is very interesting & appealing, even though an Opera of the same name failed miserably in the stage for Vincezo Bellini (he went on to use the same music for "I Capuleti e I Montecchi" with an enourmous sucess)...

However, in the 20th century and now it is Zaira of Bellini instead of Zaira of Mercadante which enchant audiences and saw several revivals. During the 19th century Mercandante's 60 operas were more performed... change in time, change in taste of the audience!

The conflict this opera reflects the perils of the heart with a background of opposing religions: Orosmane (bass), the Muslim sultan of Jerusalem, and his slave, Zaira (soprano) are in love. When Nerestano (tenor) returns (former Orosmane's prisoner), he and Zaira seem attracted and Orosmane becomes jealous. The twist in the plot is that Zaira and Nerestano are brother and sister, the children of Lusignano (baritone), a prior King of Jerusalem. She (Zaira) later on discovers this, therefore must decide whether to remain a Muslim under Orosmane, or return as a Christian. In the final scene, Orosmane kills Zaira out of jealousy; before dying she says Nerestano is her brother, and Orosmane, realizing the big mistake he made, kills himself shortly afterwards.

The musical detail and dramatic realism of Mercandante's orchestration is emotionally effective and melodically firm and pleasant. The love duet of Zaira/Orosmane, and the enjoyable trio of Act II, have very inspiring melodies supported by the orchestral varied texture. Nevertheless the final scene (with the high emotional and dramatic context provided by the plot)it is not as well translated to music by the composer...

Said that, it is a well constructed opera with a fine thread of melodic stability with a very satisfying texture that entertains. A good, even though not excellent, accomplisment by Mercadante. For Opera Rara and the singers an A+!...

4.0 out of 5 stars Christian Girl Murdered by Muslim Prince!, September 5, 2010

By 

Lorenzo Moog (Seattle, WA USA) - See all my reviews
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This review is from: Mercadante: Zaira (Highlights) (Audio CD)

That is I suppose how the media might label this story of Zaira and her journey into an alien culture and then almost out of it. Except for Orosmone, Sultan of Jerusalem....he doesn't want Zaira to leave but she wants to resume life as a Christian (and he also thinks her brother Nerestanto is her lover) so he stabs her then discovers too late that she did indeed love him so he kills himself with the same knife he just used to kill her. In all due respect to Felice Romani, the librettist, who found the story "supremely tragic" he had a time of it to get the right composer to set a score to this passionate, sensual story. Bellini famously failed in Parma but Mercadante evidently got it right. I say "evidently" since this performance is highlights only and not the full opera so it can't really be understood as a complete work from this single CD (with excellent book) from Opera Rara. Jeremy Commons sorts out the history of Zaira and Mercadante with elegant clarity. In spite of not getting the complete work Opera Rara has done an incredible job in re-assembling the music to give a very smooth and accomplished musical event which gives pleasure at every turn.
Mercadante shows an adept hand in his dramatic coloring with very original, compelling music (he makes a glaring snatch from Rossini's Maometto Secondo early in Act 1 which was jarring) otherwise it's all quite new but within a familiar framework. The cast is admirable on every level, mostly Opera Rara regulars with their keen understanding and respect of early to mid-nineteeth century music. Majella Cullegh must be singled out as Zaira, slave in the hareem. I find her voice most beautifully natural and unencumbered, pleasing to my ears, having among other qualities the beauty of an Irish voice. Alastair Miles gives a very rich Orosmane with plenty of dramatic nuance. All of the Cast, Orchestra & Chorus get two thumbs up for very admirable work. David Parry does his sensuous magic by bringing out the fine orchestration of Mercadante and showing off the singers. He's great! I enjoy Mercadante's dramatic use of the clarinet to accomany Zaira, very effective. Given the ongoing drama of the Muslims and the Christians into the current moment some opera company should certainly think of giving Zaira a go. Probably riots in the street but I bet a great evening in the theater. More Mercadante! Very recommended.