Pacini: Saffo

Lubomir Matl (Artist), Giovanni Pacini (Composer), Maurizio Benini (Conductor), National Symphony Orchestra of Ireland (Orchestra), Francesca Pedaci (Performer), Mariana Pentcheva (Performer), Wexford Festival Opera Chorus (Performer), Gemma Bertagnolli (Performer), Carlo Ventre (Performer), Aled Hall (Performer), Roberto De Candia (Performer)

Pacini's Saffo is, despite its neglect, an artistic masterpiece well worth reviving for its own interest and for its place in the development of opera. While a master of the bel canto style, Pacini concentrates more on lovely singing than on vocal pyrotechnics. Fine legato and phrasing are required and are rewarded by producing a highly satisfactory experience. This recording from the Wexford Festival serves the opera well. The principals, though not outstanding, do serve the piece adequately. The women seem to me to have more difficulty than the men do, especially in the range required and with the extent of low notes that seem to produce difficulty. Saffo sounds more like a mezzo than a soprano role and while Francesca Padaci sings some wonderful passages in the title role, her voice doesn't quite fit the needs of the part. By contrast, I greatly enjoyed the tenor, Carlo Ventre, singing the part of Saffo's fickle lover. Roberto de Candia singing the baritone role of Alcandro, Saffo's unknown father (The plot, in a fairly strong libretto, is not more plausible than most such classical efforts.) also produces a strong and enjoyable performance. Though "fit" of the voice to the role is also a problem with the other female principal, Marina Pentchava, as Climene (Saffo's sister who steals her lover,) she nevertheless produces some lovely singing. The Wexford Festival Chorus turns in a worthwhile performance, though I confess that I could not make out any of the words sung by the female half of the chorus. The National Symphony of Ireland, under Maurizio Benini, performs adequately, with the wind sections (which play a prominent part in the proceedings) being particularly noteworthy. The sound is good, though a bit on the cold and distant side, and the audience for the performance are rendered marginal. Finally, the booklet is a model of its kind. One might wish for a major company to record the opera with some outstanding singers, to see how much more exciting such treatment would render this work. Failing that, the present production makes a very satisfactory addition to one's collection if one is interested in widening the scope of one's enjoyment of mid- 19th century opera. ~ John Cragg

Price: $25.98