Sicilienne
La donna del lago
 
 
The Cast

ELENA -
Carmen Giannattasio
GIACOMO - Kenneth Tarver MALCOLM GROEME - Patricia Bardon
RODRIGO DI DHU -
Gregory Kunde
DOUGLAS D’ANGUS -
Robert Gleadow
ALBINA - Francesca Sassu SERANO/BERTRAM -
Mark Wilde

Edinburgh Festival Chorus Scottish Chamber Orchestra CONDUCTOR -
Maurizio Benini
The Guardian

‘Shortly before its premiere in 1819, Rossini described La Donna del Lago as "a bit romantic, but effective". In fact, the opera, the first to be based on the writings of Walter Scott, became one of the iconic works of the early 19th century, ushering in the fascination with Scotland that became a dominant feature of Italian Romanticism for several decades. It still comes over as a strikingly original score - above all, in Rossini's depiction of the platonic, deeply touching central relationship between Elena, daughter of a
rebellious Highlander, and King James V, her father's sworn enemy. It caused a stir when it was revived at last year's Edinburgh festival, where this live recording was made. Maurizio Benini conducts with considerable panache, while Carmen Giannattasio is affecting… as Elena. The great performance, though, comes from Kenneth Tarver as James, who spins out his coloratura with glorious ease and superbly captures both the king's easy-going charm and the ruthlessness that lurks beneath it.’
MusicalCriticism.com

‘Once again, the specialist operatic recording label Opera Rara has struck gold with its latest release. Recorded at last year's Edinburgh Festival, the quality and technical security of the performance belies its origin in a single live concert. The first act finale is one of the most breathtaking and complex set pieces in nineteenth-century opera.
3 December 2008
Patricia Bardon leads the way in the trouser role of Malcolm, her nimble coloratura utterly impeccable in Rossini's demanding embellished vocal lines. As Elena, Carmen Giannattasio, too, is magnificent, opening the opera with confidence in her famous aria. Gregory Kunde tosses off the high notes with ease in the role of Rodrigo… However, the stand-out performance for me is the Douglas of Robert Gleadow… In all, this is a recording that deserves a place on the shelves of all who appreciate nineteenth-century Italian opera, and it easily supersedes the previous studio recordings conducted by Maurizio Pollini and Riccardo Muti.’