CILEA L'artesiana • Charles Rosekrans, cond; Elena Zilio (Rosa Mamái); Péter Kelen (Federico); Maria Spacagna (Vivetta); Barry Anderson (Baldassare); et al; Hungarian St O & Ch • EMI 5 66762 2 2 CDs 107:44

In 1994 I reviewed the Cetra recording of L'artesiana featuring Ferrucio Tagliavini and his wife, Pia Tassinari (Fanfare 17:6). In that review I said that there had been only one previous recording of the opera, on a Colesseum LP. I was taken to task by a reader who informed me that there was another CD recording issued on the Quintanta label. Coincidentally I found that recording, issued in 1992, at half price in a cut-out bin at my local record store. Now, like the phoenix rising from its ashes, this same recording has been resurrected by EMI.

In my previous review I wrote about the history of the opera and gave a detailed plot summary. I noted that the last performance of the opera that I was able to trace occurred in 1968. Now I find that there have been two revivals of the work, one in 1996 at Montpellier and in 1997 in Parma. There is a possibility that these revivals may have motivated EMI to rerelease this recording.

Cilea presented a four-act version of the opera at its premiere in 1897, and then revised it to three acts the following year. He continued to revise the opera until 1937, and actually withdrew the work, being dissatisfied with a production mounted in 1912, although it was revived in 1936 at La Scala. The weakness of the plot was recognized by the composer, who kept tinkering with it until the final 1936 version, the one recorded here.

Since this set contains a libretto and translation I will briefly outline the plot. The young rustic, Federico has fallen madly in love with a girl from Aries. He is distraught when he finds that she is engaged to Metifio. Federico's mother wants him to marry Vivetta, who is in love with him. He agrees to do so, but on the planned wedding day Metifio appears. Federico tries to attack him but is restrained, and Federico jumps out of a window to his death. Other characters are his mother Rosa Marnai, his demented young brother, L'Innocente, and the elderly shepherd, Baldassare. The title character L'Artesiana never appears in the opera.

As I noted in my previous review, Cilea's style is more evocative than dramatic, lyrical and perhaps elegiac in tone, although there are dramatic moments that verge on verismo. The principal reason that the opera has been kept alive is the great tenor aria "E la solita storia." Baldassare's "Come due tizzi accesi" has also been recorded fairly often, and Rosa Marnai 's "Esser madre č un inferno" rounds out what is essentially a three-aria opera.

The recording presents a competent but not distinguished cast led by a conductor who obviously has a feeling for the work. Rosekrans's tempos are generally slower than Basile's on the Cetra, emphasizing the pastoral quality of the music. Basile's more vigorous approach underlines the verismo aspects of the score. Péter Kelen is more to be honored for his intentions that his accomplishments. The voice has a metallic buzz when he strains for volume, and he is inclined to bleat at times. He does manage to sing softly when required, and interpolates an unwritten high note (ŕ la Gigli) in the famous aria. He is no match for Tagliavini on the Cetra. Maria Spacagna in the thankless role of Vivetta is the best of the principals. She has a nice lyric sound. Barry Anderson has the voice for the role of Baldassare, but not the feeling for text that Paolo Silveri commands on the Cetra. Elena Zilio, the only Italian in the cast, is a good Rosa Marnai, but again is outshone by Tassinari on the Cetra. The three minor roles are indifferently handled.

This recording is more complete than the Cetra, containing the Intermezzo to act III, which Basile cuts. The sound is good, and the orchestral passages benefit from the modern recording.

When I wrote my previous review I dutifully consulted Schwann and found no listing of this set, which was first released in 1992; therefore it lasted less than two years in the catalog. Now I find that there is no listing for the Cetra recording in the current Schwann, so it too apparently has been short-lived. How long this reissue will last is a question, so if you are interested in this work, and cannot find the Cetra, you will find it a competent if not inspired rendition.

Bob Rose, Fanfare Magazine [3/1999]