Anna Bolena took Milan by storm at the end of December, 1830, and it was heard all over Italy in the following months; in May of 1831, the composer’s Francesca di Foix, a one-acter, was given in Naples and sank like a stone. (Donizetti re-used some of the music for L’elisir d’amore.) It’s an odd work, to be sure. Referred to as an “opera semiseria”, it seems more a comedy. Its silly if direct plot concerns the lovely Francesca, whose husband, the Count, keeps her away from court, explaining that she is too ugly to be seen in public. The suspicious King gets a Duke and his Page to lure Francesca to court veiled and with an assumed name; the Count suspects and then realizes that the woman is his wife, but refuses to admit it. When the King promises the “stranger” in marriage to the winner of a tournament, the Count gives in, is reprimanded, and apologizes. Everyone rejoices.
Light stuff, no? But it’s charming, with a nice entrance aria and rondo-finale for Francesca, a good tenor solo, a swell duet or two, and a terzett and some good give-and-take in the work’s recognition-apotheosis scene. As Francesca, Annick Massis is luscious, her tone always glorious and used here good-humoredly, while she tosses off perfect trills and coloratura. Jennifer Larmore brings real character and a nice, darkish tone to the Page’s music, while as the Duke, Bruce Ford (as usual) is manly and graceful at once. Alfonso Antoniozzi manages to keep his dignity as the foolish, fooled Count by singing with velvet tone and genuinely caring about the role, and Pietro Spagnoli brings a handsome legato to the King. The Geoffrey Mitchell Choir and London Philharmonic under Antonello Allemandi are sprightly and play the work with such perkiness that it whizzes by, and Opera Rara’s presentation is again something that other labels ought to imitate. This is a terrific little Donizettian creampuff. [8/9/2005]
