Back
Shop – Collections

Adelaide di Borgogna

Live Concert RecordingPenguin Guide - Key recordingPenguin Guide - outstanding performance (3 stars)Penguin Guide - outstanding performance (3 stars)Penguin Guide - outstanding performance (3 stars)



Adelaide di Borgogna

Gioachino Rossini

2 disc set

CD £28.99

Availability: In stock

Usually delivered in 3 working days

ORC32
DOWNLOAD £14.98

PDF booklet included free (full album only)

- £14.98

MP3

MP3 file at maximum MP3 quality i.e. 320 kbps per second. Will play in nearly all media players in Windows and Apple.


- £20.00

FLAC 16 bit

Open-source format, here at 16 bit i.e. lossless CD quality. Will play in VLC player (free to download from www.vlc.com). Can be converted to MP3.


- £20.00

ALAC 16 bit

Apple format, here at 16 bit i.e. lossless CD quality; this is better than MP3 320 kbps. Will play in iTunes. Can be converted to MP3.


Maybe you’ve come across this plot before: a damsel-in-distress is saved by a knight in shining armour. This is the standard ‘fairy tale’ we all learned as children. Yet the surprising... read more

BUY TRACKS
Song title Time Format Price
playstop01 Adelaide di Borgogna: Act I: Sinfonia05:53
playstop02 Adelaide di Borgogna: Act I scena I: Introduction: Misera patria oppressa 02:11
playstop03 Adelaide di Borgogna: Act I scena II: Introduction: Lasciami: in tel del padre 02:44
playstop04 Adelaide di Borgogna: Act I scena II: Introduction: Dio, che m'ami in tal cimento 01:53
playstop05 Adelaide di Borgogna: Act I scena II: Introduction: Ah! crudel, non lusingarti - scena III: Tu, che non hai coraggio 02:29
playstop06 Adelaide di Borgogna: Act I scena IV: Recitative: Nostra e l'Italia 01:06
playstop07 Adelaide di Borgogna: Act I scena V: Salve, Italia, un di regnante 01:39
playstop08 Adelaide di Borgogna: Act I scena VI: scena: Oh sacra all virtu, sacra al valore 01:46
playstop09 Adelaide di Borgogna: Act I scena VI: Cavatina: Soffri la tua sventura 02:29
playstop10 Adelaide di Borgogna: Act I scena VI: Amica speme al cor mi dice 03:00
playstop11 Adelaide di Borgogna: Act I scena VII: Recitative and Cavatina: Signor, al campo e giunto 02:34
playstop12 Adelaide di Borgogna: Act I scena VII: Duet: Vive Adelaide in pianto 02:33
playstop13 Adelaide di Borgogna: Act I scena VII: Duet: Noi deponiamo il brando 01:35
playstop14 Adelaide di Borgogna: Act I scena VII: Duet: Amico ricetto io t'offro in Canosso - scena VIII: Alcun non giunge ? 01:52
playstop15 Adelaide di Borgogna: Act I scena IX: Recitative and Duet: Cadde nel laccio Ottone 01:04
playstop16 Adelaide di Borgogna: Act I scena X: Cavatina: Viva Ottone, il grande, il forte 01:29
playstop17 Adelaide di Borgogna: Act I scena X: Recitative and Cavatina: Vedi, signor? Non fra nemici tuoi - scena XI: Ecco quell'infelice 03:04
playstop18 Adelaide di Borgogna: Act I scena XI: Cavatina: Plauda il mondo in si bel giorno 01:32
playstop19 Adelaide di Borgogna: Act I scena XII: Recitative: Tacer! sempre tacer! 01:26
playstop20 Adelaide di Borgogna: Act I scena XII: Cavatina: Se protegge amica sorte 03:02
playstop21 Adelaide di Borgogna: Act I scena XII: Aria: L'amor del figlio, ed il desio di regno 00:26
playstop22 Adelaide di Borgogna: Act I scena XII: Aria: Vorrei distruggere del figlio i voti 02:19
playstop23 Adelaide di Borgogna: Act I scena XIII: O ritiro che soggiorno 02:37
playstop24 Adelaide di Borgogna: Act I scena XIII: Cavatina: E fia pur ver, che tanti affanni 00:41
playstop25 Adelaide di Borgogna: Act I scena XIII: Cavatina: Occhi miei, piangeste assai 01:53
playstop26 Adelaide di Borgogna: Act I scena XIII: Cavatina: O cara immagine 03:11
playstop27 Adelaide di Borgogna: Act I scena XIV: Cavatina: Pur mi lice una volta 01:58
playstop28 Adelaide di Borgogna: Act I scena XIV: Duet: Mi dai corona e vita 02:51
playstop29 Adelaide di Borgogna: Act I scena XIV: Duet: Vieni al tempio, ah! 02:16
playstop30 Adelaide di Borgogna: Act I scena XIV: Duet: Tu che i puri e casti affetti 03:22
playstop31 Adelaide di Borgogna: Act I scena XV: Finale: Schiudi le porte al tempio - scena XVI: Ecce Adelaide e Ottone ? 02:04
playstop32 Adelaide di Borgogna: Act I scena XVI: Finale: O degli'itali regnanti 04:27
playstop33 Adelaide di Borgogna: Act I scena XVI: Finale: Quale improvviso strepito! - scena XVII: Signor, tu sei tradito 00:51
playstop34 Adelaide di Borgogna: Act I scena XVII: Finale: Giunto e alfin di vendetta l'istante 02:40
playstop35 Adelaide di Borgogna: Act II scena I: Introduction: Come l'aquila che piomba 01:39
playstop36 Adelaide di Borgogna: Act II scena II: Recitative: Vincemmo, o madre - scena III: Torno, Adelaide, e torno 02:29
playstop37 Adelaide di Borgogna: Act II scena III: Duet: Dell tua patria ai voti 02:04
playstop38 Adelaide di Borgogna: Act II scena III: Duet: Oh rossore! 01:19
playstop39 Adelaide di Borgogna: Act II scena IV: Duet: Ah! signor, perduti siamo 00:49
playstop40 Adelaide di Borgogna: Act II scena IV: Duet: Quella gioia che in fronte ti brilla 01:38
playstop41 Adelaide di Borgogna: Act II scena V: Recitative and Duet: Vederti in pianto e non poterti mai 00:31
playstop42 Adelaide di Borgogna: Act II scena VI: Recitative and Duet: Lasciami: invan mi preghi ? 00:52
playstop43 Adelaide di Borgogna: Act II scena VI: Recitative and Duet: Si, si, mi svena nel tuo furore 02:16
playstop44 Adelaide di Borgogna: Act II scena VII: Recitative and Duet: Fermati ? Non m'ascolta 00:20
playstop45 Adelaide di Borgogna: Act II scena VII: scena and Aria: Berengario e nel periglio 00:50
playstop46 Adelaide di Borgogna: Act II scena VII: scena and Aria: Grida, o natura, e desta 04:46
playstop47 Adelaide di Borgogna: Act II scene 8-12: Recitative: Vieni: alla mia nemica 03:49
playstop48 Adelaide di Borgogna: Act II scena XII: Quartet: Adelaide! ? oh ciel! che vedo? 01:42
playstop49 Adelaide di Borgogna: Act II scena XII: Quartet: Parti. Alle chiuse mura 04:18
playstop50 Adelaide di Borgogna: Act II scene 13-16: Recitative: Compagni, a voi fidata 02:18
playstop51 Adelaide di Borgogna: Act II scena XVI: scena: Ah! vanne ? Addio ? 01:14
playstop52 Adelaide di Borgogna: Act II scena XVI: Aria: Cingi la benda candida 03:03
playstop53 Adelaide di Borgogna: Act II scena XVI: scena and Aria: Se grate son le lagrime 02:31
playstop54 Adelaide di Borgogna: Act II scena XVI: scena and Aria: Temer un danno 03:23
playstop55 Adelaide di Borgogna: Act II scena XVII: Serti intrecciar le vergini - scena the Last: Questi, che a me presenta 03:06
playstop56 Adelaide di Borgogna: Act II scena XVII: Vieni: tuo sposo e amante 02:49
playstop57 Adelaide di Borgogna: Act II scena XVII: Al trono tuo primiero 00:45
playstop58 Adelaide di Borgogna: Act II scena XVII: D'Imene il talamo 03:22

Maybe you’ve come across this plot before: a damsel-in-distress is saved by a knight in shining armour. This is the standard ‘fairy tale’ we all learned as children. Yet the surprising thing about Adelaide di Borgogna is that the story is true. Oh yes: in an important but rarely remembered piece of Italian history, Otto II, emperor of Germany, came to the rescue of Adelaide, widow of Lotario, king of Italy. And what did Rossini do with this? He covered it, as always, with the most beautiful music, writing arias, duets, quartets and finales to melt your hearts. This is virtually guaranteed to happen when Jennifer Larmore and Majella Cullagh bring their amazing voices together in one of those moments that recording producers pray for. But the joys in this recording are not confined to the contributions of those talented ladies. Bruce Ford, once again the bad guy, is at his virile best with his father, Mirco Palazzi, at one elbow and Rebecca Bottone, as his mother, at the other. This trio of malcontents doesn’t have much chance against Cullagh, who has a formidable aria just before the end of the evening. But Larmore, as Ottone, puts the seal of triumph on the whole evening with a rondo finale of outstanding verve and panache. If this sounds like a happy ending, it is. What else do fairy stories have?

Booklet includes complete libretto with English translation.

'Show-stopping is the only way to describe the performance, fireily conducted by Giuliano Carella, and dominated by Majella Cullagh's Adelaide and Jennifer Larmore's Ottone, both of them flinging out their music with a combination of thrilling abandon, perfect control and dramatic exactitude. Bruce Ford was a compelling Adelberto' - Tim Ashley, The Guardian

Majella Cullagh (Adelaide), Jennifer Larmore (Ottone), Bruce Ford (Adelberto), Mirco Palazzi (Berengario), Rebecca Bottone (Eurice), Ashley Catling (Ernesto), Mark Wilde (Iroldo), Scottish Chamber Orchestra, Giuliano Carella – conductor .

Before one can appreciate the plot of this opera, one must be aware of a considerable ‘pre-action’.  Lotario I, King of Italy, was poisoned by Berengario, Margrave of Ivrea, who usurped the throne.  Adelaide of Burgundy, Lotario’s widow, shut herself up in Pavia to escape the persecution of Berengario, who wished to give his usurpation a gloss of legitimacy by marrying her to Adelberto, his son and co-ruler.  He therefore laid siege to Pavia, seized Adelaide, and imprisoned her in a castle on the shores of Lake Como.  After four months she escaped and fled to the fortress of Canosso (Canossa), where she was given protection by Attone (Iroldo in the opera), the governor of the fortress.  Still determined, Berengario laid siege to Canosso, and Adelaide, fearing that she could not hold out for any great length of time, appealed for help to Ottone the Great, the powerful Emperor of Germany, offering him her hand in marriage and ceding to him her rights, as Lotario’s widow, to the crown of Italy.  Before Ottone had time to cross the Alps, however, the fortress of Canosso was forced to yield to its attackers...

ACT I.  SCENE ONE

The interior of the fortress.  The inhabitants are cowed and fearful as they watch the triumphant entry of Berengario and his soldiers.  Berengario exults, seeing the capitulation of Canosso as sealing his hold upon the crown.

Adelaide has already been sought out by an ardent Adelberto, and makes her entry, rejecting him, defying Berengario, and secretly putting her trust in the arrival of Ottone.  Berengario places her in the custody of his guards.

Adelberto feels less sure of their position than his father, for he has heard reports that Ottone has been seen crossing the Alps.  His fears are confirmed when his mother, Eurice, brings news that the Germans have arrived in the vicinity of Lake Garda.  He is all for putting up a stubborn resistance, but Berengario overrules him, suggesting instead that they must resort to deceit, and throw Ottone off his guard by feigning a wish for friendship and peace.

SCENE TWO

On the shores of Lake Garda, where the German forces are pitching their camp, Ottone expresses his sense of awe at finding himself upon Italian soil.   He declares his determination to rescue Adelaide. 

Adelberto arrives in the camp and, as the emissary of Berengario, sets to work to undermine what he insinuates is Ottone’s over-simplistic reading of the situation.  Adelaide, he suggests, is really ambitious and ruthless, while the removal of Lotario was necessary since Italy was falling into a state of anarchy under his incompetent rule.  Ottone, though seemingly shaken, persists in his determination that he must see Adelaide and judge for himself.  Both he and Adelberto flatter themselves that they are masters of deception: each believes that he is hoodwinking the other.

SCENE THREE

A vestibule within Canosso.  Berengario brings an anxious Eurice news that Adelberto’s mission has been successful: he has succeeded in deceiving Ottone, and is now leading him to Canosso – in effect leading him into a trap.

Ottone arrives, and is allowed to see Adelaide.  The conflict between her and her captors breaks into open recrimination, but Ottone declares in her favour and announces his intention of wedding her.  Berengario and Adelberto are forced to seethe in suppressed anger, but Berengario is able to tell his son that he has sent out a call for reinforcements and expects their imminent arrival.  In the meantime, he urges that they should continue their pretence of wishing peace and friendship.

SCENE FOUR

A private apartment, where Adelaide is preparing for her marriage.  Iroldo expresses his joy at the sudden change in her fortunes.  When Ottone appears, he and Adelaide express their love for each other, and Adelaide her gratitude for his coming to her rescue.  They leave together for the wedding ceremony.

SCENE FIVE

The square of Canosso, where Berengario and Adelberto find themselves forced to witness the rejoicing of the people at the prospect of the approaching marriage.  But before Ottone and Adelaide can enter the church, a clash of arms is heard, and the troops that have come to the relief of Berengario make their appearance.  There is a scuffle, and Ottone is forced to make a hasty escape, declaring that he will return to rescue Adelaide and punish his opponents.

ACT TWO. 

SCENE ONE

The interior of the fortress of Canosso, as in Act One.  The troops of Berengario and Adelberto are celebrating their victory, and Adelberto tells Eurice that he only awaits Berengario’s return from the field to wed Adelaide.  Adelaide, however, still steadfastly rejects him, even though he would seem genuinely to love her and offers to share his throne with her.

 Suddenly and unexpectedly the tables are turned, for news comes that Ottone’s forces have rallied and that Berengario has been made prisoner.  

Iroldo, who has witnessed the latest confrontation between Adelaide and Adelberto, regrets that he cannot do more to help Adelaide.

SCENE TWO

 A vestibule, as in Act One.  A fierce quarrel is now developing between Adelberto and Eurice, the former totally activated by his possessive love for Adelaide, and his mother suggesting that his primary allegiance should be to his father.  A messenger has brought word from Ottone that unless Adelaide is instantly set at liberty, Berengario will be put to death.

Left alone, Adelberto realises the enormity of his situation, torn as he is between love for Adelaide and duty to his father.

Eurice decides that she must take matters into her own hands.  If Berengario is to be saved, she feels that she herself must set Adelaide free, and despatch her back to Ottone under the escort of Iroldo.

SCENE THREE

On the shores of Lake Garda, as in Act One.  Ernesto, Ottone’s officer, reports  that he has spoken to Adelberto and, as instructed, has offered him an exchange: Berengario for Adelaide.  Adelberto, he says, at first seemed uncertain, but then agreed.

Adelberto, assured of safe-passage, arrives in the camp, intent upon securing his father’s release.  Ottone has Berengario brought in, but the the proposed exchange is thwarted when Berengario himself rejects it – unless Ottone is willing to grant him the throne of Lombardy as compensation for the loss of Adelaide.  Ottone, convinced that Adelaide is worth more than a kingdom, agrees.

Further negotiations are interrupted by the arrival of Adelaide, released by Eurice.  She has promised that she will obtain Berengario’s freedom in return for her own, and Ottone agrees to honour this promise, even though he warns Berengario and Adelberto that he will immediately take up arms against them.

Berengario and Adelberto depart for Canosso.

SCENE FOUR

A magnificent tent outside Canosso.  Ottone and his troops are expecting Berengario and Adelberto to issue forth from the fortress at any moment, and are preparing to do battle.  Ottone promises Iroldo that he will reward him for his faithful service to Adelaide, but Iroldo replies that he was only doing his duty as a knight.

Ottone and Adelaide take leave of each other, Adelaide torn between confidence of Ottone’s victory and fears for his safety.  As he departs, she ties her veil about him as a favour.

SCENE FIVE

Outside the fortress of Canosso.  Ottone has been victorious, and as the people rejoice, he makes his triumphal entry, leading Adelberto and Berengario in chains.  He crowns Adelaide with his garlands of flowers and laurels, and together they prepare to celebrate their earlier-interrupted marriage.

Berengario and Adelberto are left to deplore their fate in suppressed and impotent rage.

 

 


Related Products

 
Next