Talk about politically incorrect! This opera, based on a play by Voltaire and first presented at La Scala in 1817, presents the prophet Mohammed (“Maometto”, tenor) as a traitorous, conniving thug who has enslaved the children–Seide (mezzo-soprano, trouser role) and Palmira (soprano)–of his rival, Zopiro (bass), the sheriff of Mecca. The kids do not know that Zopiro is their father, and Mohammed and his henchman Omar (baritone) trick the zealous Seide into murdering Zopiro, who as he dies reveals that Seide and Palmira are brother and sister, and his children. Seide is poisoned in prison and dies in Palmira’s arms a bit later while his “fate” is being decided by divine providence in front of the populace. Palmira expresses her wish to die as Mohammed tells the people to tremble in front of his power over life and death, and they ask forgiveness.
One theory states that Voltaire in fact was making a statement about the cruel power of the Jesuits, but because that was deemed too inflammatory he transferred the guilt to Mohammed. Who would be bothered by that? Well…enough said.
Peter von Winter (1754-1825), a student of Salieri’s, was first a violinist and then began conducting at the Munich court. In 1778 he composed his first opera and eventually wrote more than 40 stage works for Munich, then Vienna, and then Italy. His music is more Mozartean and Gluckian than Rossinian, and Maometto is a fine example. The overture is martial in character, with cymbals and prominent woodwinds, and like the opera in general it’s more moody and dramatic than easily tuneful. But there are lovely moments: the chorus introducing Palmira is delicate and preciously scored for high winds, and that gives way, in her recitative and aria, to a still delicate but far more somber tone. And a trio in the second act, in which Zopiro prays off-stage with the brother and sister in the foreground, is rare and fascinating. Von Winter’s orchestration is very full–more Germanic than Italian–and the chorus plays a big part, interjecting into arias and scenes, expressing real sentiments, and taking part in the action. In short, given the opera’s dark plot and its dark outcome–the bad guy wins, there is a parricide, a murder, and a (wished-for) suicide for the siblings–the music suits it to a tee.
The live performance, from July, 2002 in Bad Wildbad, Germany, is excellent. None of the singers is famous but probably will be. Sebastian Na, a Korean tenor, is a fine, no-nonsense Maometto (the part was written for the tenor who created Pollione in Norma). His voice is substantial and he sings with authority. His future probably doesn’t lie in the bel canto, however–he has a bigger edge to his sound. Antonio de Gobbi’s bass voice is unusual: it has very little depth and his pitch is occasionally suspect, but it’s an even sound throughout two octaves, and he commands attention and makes an impression at all dynamic levels. He makes Zopiro the moral center of the opera, which is correct.
Gloria Montanari as Seide starts out very badly, with plumy, matronly sound, but she soon gathers momentum and status; by her second-act duet with Zopiro, she’s terrific. Similarly, Maria Luigia Borsi’s soprano is not as sweet as we might like, but when it’s all over, it is her coloratura, sharp diction, and fine ensemble work that stay in the mind. Luca Salsi’s rich baritone makes Omar stand out. The Czech Philharmonic Choir, Brno and Czech Chamber Soloists play and sing splendidly under Maestro Bellini, with the Choir being particularly noteworthy. The recording could have more presence; the opera sounds best when played loud. The packaging contains a full Italian libretto with no translations, along with a good track-by-track synopsis and informative notes. This is highly recommended–a rarity, and a nice link between the German and Italian works of the period.
