Concert

Opéra Royal de Wallonie http://www.operaliege.be/fr

Liege
  • Conductor Massimo Zanetti http://massimo-zanetti.com
  • October 2017
    21
    Saturday
    20:00 > 23:00
    3 hours
Organizer Website
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Concert

Program

Press & Reviews

Connessi al Opera
Francesco Bertini
Music for the palate with Jessica Pratt and Antonino Siragusa
This review refers to Musica per il palato at Associazione Lirica Trevigiana.
The English soprano, Australian by adoption, offers her own acrobatic reading of “Un voce poco fa" from The Barber of Seville, but particularly stuns us in the rondò finale "Tace la tromba altera” from the rare Matilde di Shabran. In the presence of Rossini's writing, Pratt dominates the staff with a uniformly full control and emission: all the high notes, which frequent arrive in the very high register of sopracute, are full-bodied with warm timbre, the center of the voice is sonorous and always in focus, even during the most fast agility. This same impression one also has listening to the Cavatina of the Comtesse Adèle "En proie à la tristesse” from Le Comte Ory. On hearing the naturalness with which the artist rattles off the Rossinian embellishments, the theater explodes in unanimous approval and appreciation.
Full article...
Connessi al Opera
Francesco Bertini
Music for the palate with Jessica Pratt and Antonino Siragusa
This review refers to Musica per il palato at Associazione Lirica Trevigiana.
The English soprano, Australian by adoption, offers her own acrobatic reading of “Un voce poco fa" from The Barber of Seville, but particularly stuns us in the rondò finale "Tace la tromba altera” from the rare Matilde di Shabran. In the presence of Rossini's writing, Pratt dominates the staff with a uniformly full control and emission: all the high notes, which frequent arrive in the very high register of sopracute, are full-bodied with warm timbre, the center of the voice is sonorous and always in focus, even during the most fast agility. This same impression one also has listening to the Cavatina of the Comtesse Adèle "En proie à la tristesse” from Le Comte Ory. On hearing the naturalness with which the artist rattles off the Rossinian embellishments, the theater explodes in unanimous approval and appreciation.
Full article...
Connessi all'Opera
Francesco Bertini
Gala lirico L’Opera per la vita
This review refers to L'Opera per la Vita at Associazione Lirica Trevigiana.
Not available in English
La sua prova appare maiuscola, in particolare per quanto attiene l’utilizzo sempre fluido e naturale dei registri acuto e sopracuto, la rotondità della zona centrale e l’attento dosaggio delle sfumature, tanto rilevanti in “Ah, non credea mirarti… Ah! Non giunge” da La sonnambula di Bellini e nell’ampio finale del primo atto della Traviata, dove il soprano investe appieno i propri mezzi per tornire compiutamente i cangianti stati d’animo di Violetta.
Full article...
Opera Click
Federica Faldetta
Palermo - Teatro Massimo: "Delirio", recital di Jessica Pratt
This review refers to Delirio at Teatro Massimo.
her harmonics fill the great hall of the theatre inebriating us with the last fireworks and demonstrating until the end that an extreme mastery of the vocal technique combined with an intense interpretation generates a natural and spontaneous singing. "
Full article...

Excerpts

Overture Don Pasquale

taken from Don Pasquale by Gaetano Donizetti

Il faut partir

taken from La fille du régiment by Gaetano Donizetti
The Marquise de Birkenfeld finds that Marie is actually her niece and requires Marie to live with her at the Marquise's castle. Marie tells the regiment that she must leave them but that she does not want them to be unhappy. She explains the sadness that she will feel when she is away from them.
Lyrics
Il faut partir mes bons compagnons d'armes, Désormais, loin de vous m'enfuir! Mais par pitié cachez-moi bien vos larmes, Vos regrets pour mon coeur, hélas! Ont trop de charmes! Il faut partir! Ah! par pitié cachez-moi votre souffrance, Adieu! Il faut partir! Adieu! Vous que, dès mon enfance, Sans peine, j'appris à chérir, Vous, dont j'ai partagé le plaisir, La souffrance, au lieu d'un vrai bonheur, On m'offre l'opulence Il faut partir! Ah! par pitié cachez-moi votre souffrance, Adieu!

Una furtiva lagrima

taken from L'elisir d'amore by Gaetano Donizetti
Synopsis
"Una furtiva lagrima" (A furtive tear) is the romanza from act 2, scene 8 of the Italian opera L'elisir d'amore by Gaetano Donizetti. It is sung by Nemorino (tenor) when he finds that the love potion he bought to win the heart of his dream lady, Adina, works. Nemorino is in love with Adina, but she is not interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a love potion with all the money he has in his pocket. That love potion is actually a cheap red wine sold by a traveling quack doctor, but when he sees Adina weeping, he knows that she has fallen in love with him, and he is sure that the "elixir" has worked.
Lyrics
Una furtiva lagrima Negli occhi suoi spunto Quelle festosee giovani Invidiar sembro Che piu cercando io vo" M'ama, lovedo Un solo instante I palpiti Del suo bel cor sentir! I miei sospir, confondere Per poco a' suoi sospir! Cielo, si puo morir! Di piu con chiedo

Volgon tre lune... Torna torna o caro oggetto…

taken from Rosmonda d'Inghilterra by Gaetano Donizetti
Lyrics
Volgon tre lune, ahi! lassa! e il dì ricorre, Il fatal dì, che in queste mura io gemo Di rimorso...d'amor... Oh! Tristo giorno Le mie lagrime accresce il tuo ritorno! O padre, o patrii colli, O mio dolce ritiro, ove tranquilla E innocente io vivea, Vi rivedrò più mai misera, e rea? O Edegardo! Edegardo! Se non tornassi più!... se i giuramenti Obliar tu potessi!... Ah più discaccio Quest'orrendo pensier, sempre più torna Alla mente atterrita!... Vieni, Edegardo mio, vieni, mia vita! Perchè non ho del vento L'infaticabil volo? Lunge in estraneo suolo, Ti seguirei, mio ben. Dove tu sei... sen volino I miei sospiri almen. Torna, torna, o caro oggetto, A bearmi d'un tuo sguardo: Vieni, o tenero Edegardo, I miei giorni a serenar. Ch'io riposi sul tuo petto! Ch'io ti parli ancor d'amore! I rimorsi del mio core Io potrò dimenticar...

Overture Il Pirata

taken from Il Pirata by Vincenzo Bellini

Ah! non credea mirarti... Ah! non giunge

taken from La Sonnambula by Vincenzo Bellini
While sleepwalking, Amina prays for Elvino and then sings her sorrow. She remembers the engagement ring that he took from her when he believed she was unfaithful to him.
Lyrics
Ah,non credea mirarti si presto estinto, o fiore; passasti al par d'amore, che un giorno sol(o) duro. Potria novel vigore il pianto mio recarti ma ravvivar l'amore il pianto mio, ah no, non puo. Ah, non giunge uman pensiero al contento ond'io son piena: a miei sensi io credo appena; tu m'affida o mio tesor. Ah, mi abbraccia, e sempre insieme, sempre uniti in una speme, della terra, in cui viviamo ci formiamo un ciel d'amor.

Caro Elisir sei mio

taken from L'elisir d'amore by Gaetano Donizetti
Lyrics
Nemorino Caro elisir! Sei mio! Sì tutto mio... Com'esser dêe possente la tua virtù se, non bevuto ancora, di tanta gioia già mi colmi il petto! Ma perché mai l'effetto non ne poss'io vedere prima che un giorno intier non sia trascorso? Bevasi. Oh, buono! Oh, caro! Un altro sorso. Oh, qual di vena in vena dolce calor mi scorre!... Ah! forse anch'essa... Forse la fiamma stessa incomincia a sentir... Certo la sente... Me l'annunzia la gioia e l'appetito Che in me si risvegliò tutto in un tratto. (siede sulla panca dell'osteria: si cava di saccoccia pane e frutta: mangia cantando a gola piena) La ra, la ra, la ra. Scena ottava Adina e detto. Adina (Chi è quel matto? Traveggo, o è Nemorino? Così allegro! E perché?) Nemorino Diamine! È dessa... (si alza per correre a lei, ma si arresta e siede di nuovo) (Ma no... non ci appressiam. De' miei sospiri non si stanchi per or. Tant'è... domani adorar mi dovrà quel cor spietato.) Adina (Non mi guarda neppur! Com'è cambiato!) Nemorino La ra, la ra, la lera! La ra, la ra, la ra. Adina (Non so se è finta o vera la sua giocondità.) Nemorino (Finora amor non sente.) Adina (Vuol far l'indifferente.) Nemorino (Esulti pur la barbara per poco alle mie pene: domani avranno termine, domani mi amerà.) Adina (Spezzar vorria lo stolido, gettar le sue catene, ma gravi più del solito pesar le sentirà.) Nemorino La ra, la ra... Adina (avvicinandosi a lui) Bravissimo! La lezion ti giova. Nemorino È ver: la metto in opera così per una prova. Adina Dunque, il soffrir primiero? Nemorino Dimenticarlo io spero. Adina Dunque, l'antico foco?... Nemorino Si estinguerà fra poco. Ancora un giorno solo, e il core guarirà. Adina Davver? Me ne consolo... Ma pure... si vedrà. Nemorino (Esulti pur la barbara per poco alle mie pene: domani avranno termine domani mi amerà.) Adina (Spezzar vorria lo stolido gettar le sue catene, ma gravi più del solito pesar le sentirà.)

Oh! quante volte, oh quante!

taken from I Capuleti e i Montecchi by Vincenzo Bellini
Giulietta worries because she does not know where Romeo has gone. She is in love with him and waits with ardor for him to come. She wishes to see his silhouette in the light of the day and hear his sigh which reminds her of the breeze.
Lyrics
Eccomi in lieta vesta...eccomi adorna... Come vittima all'ara. Oh! almen potessi Qual vittima cader dell'ara al piede! O nuzïali tede, Abborrite così, così fatali, Siate, ah! siate per me faci ferali. Ardo...una vampa, un foco Tutta mi strugge. Un refrigerio ai venti io chiedo invano. Ove se'tu, Romeo? In qual terra t'aggiri? Dove, dove invïarti i miei sospiri? Oh! quante volte, Oh! quante ti chiedo Al ciel piangendo Con quale ardor t'attendo, E inganno il mio desir! Raggio del tuo sembiante Parmi il brillar del giorno : L'aura che spira intorno Mi sembra un tuo respir.

Overture I Capuleti e i Montecchi

taken from I Capuleti e i Montecchi by Vincenzo Bellini

En proie à la tristesse

taken from Le Comte d'Ory by Gioacchino Rossini
Lyrics
LA COMTESSE ADELE En proie à la tristesse, Ne plus goûter d’ivresse, Au sein de la jeunesse, Souffrir, gémir sans cesse, Voilà quel este mon sort. Se flétrir en silence, N’espérer que la mort, Hélas, quelle souffrance. O peine horrible! Vous que l’on dit sensible, Daignez, s’il est possible, Guérir le mal terrible Dont je me sens mourir! Soulagez ma douler, Rendez-moi le bonheur. CHOEUR Calmez tant de souffrance, Calmez tant de douleur! LA COMTESSE ADELE Faut-il mourir de ma souffrance? CHOEUR Et que votre science Lui rende le bonheur. LA COMTESSE ADELE Hélas, plus d’espérance! CHOEUR Calmez-tant de douleur! ISOLIER (à part, au Comte) Vous avez entendu sa touchante prière! Voici le vrai momenta, soyez à moi, mon père! LE COMTE ORY (à la Comtesse) Si dans mon assistance Vour avez confiance, Je puis en conscience Guérir votre douler. Du mal qui vous dévore La source est dans le coeur. Aimez, aimez encore Pour renaître au bonheur. LA COMTESSE ADELE D’un éternel veuvage Un serment fut le gage. Et j’irais le trahir? Plutôt, plutôt mourir. LE COMTE ORY Le ciel vous en dégage. Il ordonne que de vous jours La flamme se ranime Au flambeau des amour. LA COMTESSE ADELE Céleste providence, Je te bénis de ta clémence! O bon ermite - Votre mérite En mes beaux jours - Vivra toujours. ISOLIER et LE COMTE ORY Toujours, toujours. LA COMTESSE ADELE Votre mérite A mon secours - viendra toujours. Isolier, que ta présence Me fait naître un doux émoi. Cher Isolier, je veux t’aimer, Je ne veux aimer que toi. Déjà je sens - Les feux brûlants De la jeunesse - par la tendresse - Se rallumer.

Pourquoi me réveiller…

taken from Werther by Jules Massenet
Synopsis
Werther has come back to see Charlotte, his love who is married to another man. She shows him some of the books that they used to read together. One book in particular, a collection of Ossain's verses, sparks Werther to ask spring to cease its gentle caresses upon him, for sadness and grief is now his fate.
Lyrics
Pourquoi me réveiller, ô souffle du printemps? "W Pourquoi me réveiller? Sur mon front, je sens tes caresses Et pourtant bien proche est le temps des orages et des tristesses! Pourquoi me réveiller, ô souffle du printemps? Demain dans le vallon viendra le voyageur, Se souvenant de ma gloire première. Et ses yeux vainement chercheront ma splendor, Ils ne trouveront plus que deuil et que misère! Hélas! Pourquoi me réveiller, ô souffle du printemps?

Overture La Favorite

taken from La Favorite by Gaetano Donizetti

Lucia perdona… Verranno a te sull’aure

taken from Lucia di Lammermoor by Gaetano Donizetti
Lyrics
EDGARDO Lucia, perdona se ad ora inusitata io vederti chiedea: ragion possente a ciò mi trasse. Prìa che in ciel biancheggi l'alba novella dalle patrie sponde lungi sarò. LUCIA Che dici? EDGARDO Pe' Franchi lidi amici sciolgo le vele; ivi trattar m'è dato le sorti della Scozia. LUCIA E me nel pianto abbandoni così? EDGARDO Prìa di lasciarti Ashton mi vegga...io stenderò placato a lui la destra e la tua destra, pegno fra noi di pace, chiederò. LUCIA Che ascolto! Ah, no...rimanga nel silenzio sepolto per or l'arcano affetto. EDGARDO Intendo! Di mia stirpe il reo persecutor, dei mali miei ancor pago non è! Mi tolse il padre, il mio retaggio avito. Né basta? Che brama ancor quel cor feroce e rio? La mia perdita intera? Il sangue mio? Egli m'odia... LUCIA Ah, no... EDGARDO M'aborre. LUCIA Calma, oh ciel, quell'ira estrema. EDGARDO Fiamma ardente in sen mi corre! M'odi. LUCIA Edgardo! EDGARDO M'odi e trema! Sulla tomba che rinserra il tradito genitore al tuo sangue eterna guerra io giurai nel mio furore. LUCIA Ah! EDGARDO Ma ti vidi, e in cor mi nacque altro affetto, e l'ira tacque. Pur quel voto non è infranto, io potrei, sì potrei compirlo ancor! LUCIA Deh! Ti placa. Deh, ti frena. EDGARDO Ah, Lucia! LUCIA Può tradirne un solo accento! Non ti basta la mia pena? Vuoi ch'io mora di spavento? EDGARDO Ah, no! LUCIA Ceda, ceda ogn'altro affetto, solo amor t'infiammi il petto; un più nobile, più santo, d'ogni voto è un puro amor, ah, solo amore, ecc. Cedi, cedi a me, cedi, cedi all'amor. EDGARDO Pur quel voto non è infranto, ecc. Io potrei compirlo ancor. (con subita risoluzione) Qui di sposa eterna fede, qui mi giura al cielo innante. Dio ci ascolta, Dio ci vede; tempio ed ara è un core amante; (ponendo un anello in dito a Lucia) al tuo fato unisco il mio, son tuo sposo. LUCIA (porgendo a sua volta il proprio anello ad Edgardo) E tua son io. EDGARDO e LUCIA Ah, soltanto il nostro foco spegnerà di morte il gel. LUCIA Ai miei voti amore invoco, ai miei voti invoco il ciel, ecc. EDGARDO Ai miei voti invoco il cielo, ecc. Separarci omai conviene. LUCIA Oh, parola a me funesta! Il mio cor con te ne viene. EDGARDO Il mio cor con te qui resta, ecc. LUCIA Ah, Edgardo, ah! Edgardo! EDGARDO Separarci omai convien. LUCIA Ah, talor del tuo pensiero venga un foglio messaggero, e la vita fuggitiva di speranze nutrirò. EDGARDO Io di te memoria viva sempre, o cara, serberò. LUCIA Ah! Verranno a te sull'aure i miei sospiri ardenti, udrai nel mar che mormora l'eco dei miei lamenti. Pensando ch'io di gemiti mi pasco e di dolor, spargi un'amara lagrima su questo pegno allor, ah, su questo pegno, ecc. EDGARDO Verranno a te sull'aure, ecc. EDGARDO e LUCIA Ah! Verranno a te sull'aure, ecc. EDGARDO Rammentati, ne stringe il ciel! EDGARDO e LUCIA Addio!

Overture Guillaume Tell

taken from Guillaume Tell by Gioacchino Rossini

Ami alfine? E chi non ama?

taken from Matilde di Shabran by Gioacchino Rossini
Lyrics
Ami alfine? E chi non ama? Ama l'aura, l'onda, il fiore. Se di te trionfa Amore Non ti devi vergognar. Agli affanni suoi segreti Son soggetti anche i guerrieri, Anche i medici e i poeti Son costretti a sospirar. Non è vero? Edoardo, Corradino, Ginardo, Aliprando e Raimondo Anzi è verissimo. Isidoro Ancor io dovetti amar, E sette anni singhiozzar, E fu cosa da crepar. Coro ed Egoldo Dunque al castel talora Verrem da voi, signora, E niun ci scaccierà? Eguale avete l'anima Del volto alla beltà. Matilde Tace la tromba altera, Spira tranquillità. Amor la sua bandiera Intorno spiegherà. Femmine mie, guardate: L'ho fatto delirar. Femmine, siamo nate Per vincere e regnar. IL Coro e gli Altri Le femmine son nate Per vincere e regnar.

Gaetano Donizetti

Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) along with Gioachino Rossini and Vincenzo Bellini, was a leading composer of the bel canto opera style during the first half of the nineteenth century. Born in Bergamo in Lombardy, was taken, at an early age, under the wing of composer Simon Mayr who had enrolled him by means of a full scholarship. Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione. Over the course of his career, Donizetti wrote almost 70 operas. An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844. In all, Naples presented 51 of Donizetti's operas. Before 1830, success came primarily with his comic operas, the serious ones failing to attract significant audiences. However, his first notable success came with an opera seria, Zoraida di Granata, which was presented in 1822 in Rome. In 1830, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as L'elisir d'amore (1832) and Don Pasquale (1843). Significant historical dramas did appear and became successful; they included Lucia di Lammermoor (the first to have a libretto written by Salvatore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837. Up to that point, all of his operas had been set to Italian libretti. Donizetti found himself increasingly chafing against the censorial limitations which existed in Italy (and especially in Naples). From about 1836, he became interested in working in Paris, where he saw much greater freedom to choose subject matter, in addition to receiving larger fees and greater prestige. From 1838 onward, with an offer from the Paris Opéra for two new works, he spent a considerable period of the following ten years in that city, and set several operas to French texts as well as overseeing staging of his Italian works. The first opera was a French version of the then-unperformed Poliuto which, in April 1840, was revised to become Les martyrs. Two new operas were also given in Paris at that time. As the 1840s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna continuing to compose and stage his own operas as well as those of other composers. But from around 1843, severe illness began to take hold and to limit his activities. Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in April 1848.

Vincenzo Bellini

Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before' " A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his "long, long, long melodies ..." Wagner, who rarely liked anyone but himself, was spellbound by Bellini's almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti's having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. "The genuine triumph" of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.

Gioacchino Rossini

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola (Cinderella), and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history. He is quoted as joking, "Give me the laundress' bill and I will even set that to music."

Jules Massenet

"Massenet" redirects here. For the fashion entrepreneur, see Natalie Massenet. Middle-aged man, receding hair, moustached, looking at camera Massenet photographed by Eugène Pirou, 1895 Jules Émile Frédéric Massenet (French: [?yl emil f?ede?ik masn?]; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opéra-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries. Like many prominent French composers of the period, Massenet became a professor at the Conservatoire. He taught composition there from 1878 until 1896, when he resigned after the death of the director, Ambroise Thomas. Among his students were Gustave Charpentier, Ernest Chausson, Reynaldo Hahn and Gabriel Pierné. By the time of his death, Massenet was regarded by many critics as old-fashioned and unadventurous although his two best-known operas remained popular in France and abroad. After a few decades of neglect, his works began to be favourably reassessed during the mid-20th century, and many of them have since been staged and recorded. Although critics do not rank him among the handful of outstanding operatic geniuses such as Mozart, Verdi and Wagner, his operas are now widely accepted as well-crafted and intelligent products of the Belle Époque.

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