It’s nearly the end of the month which means that the next in our series of complete operas on YouTube is now available!
Our April Recording of the Month is Bellini’s Il pirata – the composer’s third opera, written when he was only 27 and his first for the brand leader of Italian opera houses: Teatro alla Scala in Milan. It also represented Bellini’s first collaboration with Felice Romani, the leading librettist of the day, who was to become his regular artistic partner.
French magazine Classica said of our revival with London Philharmonic Orchestra and David Parry: This release by Opera Rara must be praised triple-fold: for the luxurious product which is the trademark of this label; for its audacity, especially in our current times, to capture in the studio an opera so far with a poor discographic history; and above all, for producing a recording of such leading quality.
With Carmen Giannattasio as Imogene, Ludovic Tézier as Ernesto and José Bros as Gualtiero… discover it today.
Only released last week (Friday 21 March), reviews for our latest release – the first studio recording of the 1857 version of Verdi’s Simon Boccanegra – have been coming in thick and fast! It was also chosen as Presto Music’s Recording of the Week on release day.
This new recording is on another level entirely, with a compelling cast, an orchestra in full glory and a chorus alive to every dramatic moment… it also captures one of the great achievements of Sir Mark Elder’s tenure at the Hallé… Germán Enrique Alcántara makes a wonderful impression in the title role… Eri Nakamura’s Amelia… with the silky flexibility of her voice and her moving, expressive performance are a joy. Iván Ayón-Rivas is a stirring Gabriele, William Thomas a fine Fiesco – and with none of the other singers a weak link, it’s an all-round striking display of excellence… Limelight, Editor’s Choice
All lovers of Verdi will relish this excellent studio recording of the first version of Simon Boccanegra… it is the Hallé that is as much of a star of the show as many of the principals… The Chorus of Opera North, plus tenors and basses of the RNCM, are as full-throated as one could wish… He is a bereaved lover, a tender father, a strong-willed leader and, at the last, a dying man yearning for his old life as a corsair. Alcántara is utterly convincing in all these aspects of his role…. Mark Elder… conducts a performance of such vitality that I kept expecting applause. Gramophone, Editor’s Choice
Baritone Germán Enrique Alcántara takes on the role of Simon with conviction, young Eri Nakamura is moving with an adolescent fragility… Special mention goes to bass William Thomas, a Fiesco of understated authority. This release is not to be overlooked. Opéra magazine
One experiences rather a different Verdi. This is a much stronger engagement with leitmotifs… this is mid-period Verdi at its finest – and incidentally, sung by a harmonious and a highly committed group of singers. Conductor Mark Elder presents one of his finest interpretations for the British label. rbb3
Exceptional vocal performances from Argentinean baritone Germán Enrique Alcántara in the title role, rising bass William Thomas as his foe Jacopo Fiesco and Peruvian tenor Iván Ayón-Rivas as his enemy turned supporter. BBC Music Magazine
The strength of this performance from Mark Elder and the Hallé is the way everything comes off the page with such vigour and immediacy, you believe in it from beginning to end. Especially remarkable is that two of the leads I gather were late replacements, and it’s a fairly young cast… Germán Enrique Alcántara is singing his first major Verdi role as the Doge, and his final scene with William Thomas as his adversary Fiesco in Act III is a marvellous piece of theatre. BBC Radio 3 Record Review, Record of the Week
Germán Enrique Alcántara portrays a firm-voiced Simon… Iván Ayón-Rivas as Gabriele deploys a radiant voice with triumphant high notes… Eri Nakamura gives great depth to this strong character notably in the scene where she describes her abduction. One of the most interesting voices in this recording is young bass William Thomas as Fiesco: a bronze-toned voice full of nobility, whose colouring recalls the great Ghiaurov… let’s hope this artist garners attention for his magnificent voice, which is still blossoming – and which embodies a truly moving Fiesco. The double chorus and orchestra provide a nearly ideal setting for this fine cast… Forum Opéra
Germán Enrique Alcántara is a magnificent Simon. His softly grained, malleable voice sidesteps declamatory pitfalls, speckling the line with affable pathos… Eri Nakamura and Iván Ayón-Rivas are superb as Amelia and Gabriele Adorno. Ayón-Rivas’ rock-solid, bronze-coloured middle register invites comparison to a younger Plácido Domingo, while Nakamura melds the bel canto style of Sì, sì dell’ara il giubilo with profusions of finely spun lyricism. But the real standout is William Thomas whose Fiesco may quite simply be the best in recent memory. He phrases generously, much like Nicola Ghiaurov… OperaWire
Not only does the present recording, conducted by Mark Elder, make the original Simon Boccanegra accessible, the performance itself is riveting with idiomatic orchestral playing for the epoch of the work… The two choirs (Chorus of Opera North and Royal Northern College of Music Opera Chorus) and the soloists are absolutely committed…MusicWeb International
For all lovers of 19th-century opera, this is now the version of the original Simon Boccanegra to have; it will afford hours of absorbing listening. The greater stylistic consistency and compelling drama of this version are thoroughly convincing. EuropaDisc
With Sir Mark Elder, Opera Rara has found a conductor for this production who brings a new freshness, passion and fire to Verdi’s music. The Argentinian baritone Germán Enrique Alcántara sings the title role with absolute aplomb, a great, multi-faceted voice and plenty of dramatic power. The Japanese soprano Eri Nakamura shines as Amelia with a beautifully pure soprano voice, full of warmth and color, and gripping expressiveness. The role of Gabriele Adorno is sung by Peruvian tenor Iván Ayón-Rivas, a tenor with an outstanding heroic timbre who is able to express his emotional outbursts without restraint. The British bass William Thomas shines as Jacopo Fiesco with a strong and secure bass voice. This opera recording is an all-round success, with an excellent cast, magnificent orchestral sound and convincing choral singing. Pizzicato
This new recording is not just remarkable but even unique, in a way representing the first modern performance of a score that Verdi himself had once withdrawn… Elder draws not only an immense richness of colour from The Hallé but also a strong dramatic force. From the very first bars of the preludio composed in 1857 to Boccanegra’s death scene, the entire performance is one long, electrifying musical gem—Italian operatic drama of the highest order, with a wealth of nuances and phrasing… When it comes to timbre, vocal colours, nuances, and conveying emotions, this young Argentine baritone [Germán Enrique Alcántara] delivers an interpretation that many seasoned singers would envy!… Iván Ayón-Rivas once again proves to be an outstanding singer…The full sound of the recording is a delight, and the presentation is as elegant, clear, and solid as we have come to expect from Opera Rara. Opus Klassiek
Mark Elder conducts with his customary superb attention to detail. He is not one to rush a phrase, but at the same time manages to keep musical tension. The Hallé plays magnificently, and the two choruses are also excellent… Germán Enrique Alcántara was a stand‑in for the title role and proves most impressive. His baritone is youthful and rich, the phrasing long and with a great range of colours. Act II shows him at his very best, when Boccanegra falls into a reverie from which he bursts with thrilling tone before leading the trio that ends the act. It is a most impressive assumption. Alcántara is up against a formidable Fiesco in William Thomas, whose bass also has the bloom of youth and a suave resonance reminiscent of Nicolai Ghiaurov (and I know no higher praise).ConcertoNet
With his long operatic experience, Sir Mark Elder conducts a scrupulously prepared performance cast with young voices. Germán Enrique Alcántara has the right grit and authority for the plebiaen Doge of Genoa Boccanegra… Iván Ayón-Rivas is convincing as the Genoese nobleman Gabriele Adorno and William Thomas belies his youth as aristocrat Jacopo Fiesco. Financial Times
You know you’re in for something special with the prelude’s stabbing opening chords: an early sign that Elder knows exactly how to generate tension… The singers, also deliver the goods. Germán Enrique Alcántara’s flexible baritone easily weathers the hero’s switches from corsair to patrician to tender father, while Eri Nakamura, as Boccanegra’s long-lost daughter, makes beautiful sounds in a score with relatively few set arias. Meanwhile, Iván Ayón-Rivas’s impassioned tenor voice finds perfect home in the role of Gabriele… The Chorus of Opera North and RNCM Opera Chorus contribute with gusto, helped along by spatial separations that impart stage atmosphere to this vivid recording… this splendid resurrection of the original can’t be ignored. The Times
At the heart of it all is the Argentinian baritone Germán Enrique Alcántara, who stepped into the project at very short notice to make his recording-debut and first appearance in a major Verdi role. It sounds like Boccanegra has been in his repertoire for years: no nuance is lost on him (the recognition-scene with his daughter and his eventual death-throes will make your eyes prickle), and the high tessitura of the role holds no terrors. Let’s hear more from him on record as soon as possible. Presto Music, Recording of the Week
The casting of the four main roles is particularly striking: Argentinian baritone Germán Enrique Alcántara lends the title role a darkly velvety fullness; Japanese soprano Eri Nakamura, though vocally fragile, brings passionate intensity to Amelia; Peruvian spinto tenor Iván Ayón-Rivas is a robust and powerful Gabriele, her lover; and British bass William Thomas, with a timbre reminiscent of Ghiaurov, is an imposing Fiesco. Their performances do more than just convince – they are bound to make any opera lover’s heart beat faster. In the supporting roles, Sergio Vitale (Paolo Albiani), David Shipley (Pietro), and Beth Moxon (Amelia’s maid) deliver solid performances.Online Merker
Sir Mark Elder conducts with great fluidity and care in volumes a very light-sounding orchestra and chorus in a score without the evident drama of the revision. The 1857 vocals are more bel canto and high in the baritone roles of Simon and Paolo. Germán Enrique Alcántara (Simon) sings with flexibility and good phrasing… Lyric soprano Eri Nakamura’s Maria/Amelia reflects a brighter part in the middle and high than in 1881. Tenor Iván Ayón-Rivas (Gabriele) shows good projection and a velvety middle with ease in the high. Baritone Sergio Vitale is an attractive Paolo in interpretation and technique.Opéra Actual
Opera Rara’s recording project, spanning a total of eight albums, is truly extraordinary – the words from one of our first reviews of our latest installment of our Donizetti Song Project recording cycle: Volumes 3 and 4 released in February with our Artistic Director Carlo Rizzi on the piano and our Artist Ambassador tenor Michael Spyres, and mezzo-soprano Marie-Nicole Lemieux and pianist Giulio Zappa.
These are by no means just melodically pleasing, tenderly seductive, or strikingly triumphant pieces in which the piano merely plays an accompanying role. They come from the composer’s French years, and Spyres sings them with superb technique, flawless diction, and eloquent pronunciation. Frankfurter Allgemeine Zeitung
Indeed, the combination of Opera Rara Artistic Director Carlo Rizzi and American “baritenor” Michael Spyres is a match made in heaven… What makes this album unique, however, are the more unusual items… Singers should be queuing up to welcome these miniature masterpieces into their portfolios.Recorded in natural sound, the voice pulled forward just a touch, this is a peach of a recital, whetting the appetite for the rest of this important and highly enjoyable series.Limelight, Recording of the Month
Spyres gives us a youthful, brilliant voice with radiant high notes. The baritonal quality of his voice adds darker nuances to his phrasing, making his voice sound virile and well-grounded. It is a unique pleasure to listen and relisten to this CD… Carlo Rizzi on piano is always a guarantee, respecting and supporting the voice in perfect harmony. Il Trillo Parlante
A couple of months ago, I enjoyed the first two volumes in a projected series of eight. Volume Three, released alongside an equally enjoyable Volume Four with the feisty spirited Marie-Nicole Lemieux, is if anything even better. Indeed, the combination of Opera Rara Artistic Director Carlo Rizzi and American “baritenor” Michael Spyres is a match made in heaven… Opera Rara’s CD presentation, booklets containing essays, full texts and translations plus notes on the individual songs, are luxurious and complete two perfect musical packages. Midlands Classical Music Review
Since its inception, Opera Rara seems to follow the principle: ‘If you do something, do it well.’ This applies not only to performances and presentation but also with regards repertoire… As on the first CDs, Spyres is accompanied by great finesse by conductor Carlo Rizzi… on Volume Four, Rizzi is replaced by Giulio Zappa… and the result remains excellent. Opus Klassiek
If the listener is in the mood for a flow of beautiful, exquisitely produced tone, with the words and dramatic situations secondary, then the Michael Spyres – normally billed as a ‘baritenor’ but here as ‘tenor – absolutely never disappoints. If on the other hand the need is for more drama, more involvement, more variety and uncertainty then go with Marie-Nicole Lemieux. With her, even a simple strophic song with gondolas like Sull’onda cheta e bruna becomes both a dramatic scena and a showpiece. The pianists for both singers are exceptional and production quality is superb. We occasionally get a pleasant surprise from a guest – like organist Edward Batting on the harmonium – and the amount of work that has gone into filling the booklets with good writing and scholarly resource is unbelievable. The Arts Desk
Opera Rara’s recording project, spanning a total of eight albums, is truly extraordinary… Another fascinating aspect is how Michael Spyres, now established as a Wagnerian singer handles this primarily lyrical repertoire. The result is astonishing: Spyres, with his highly agile and uniquely wide-ranging tenor voice, unveils an inexhaustible array of elegant phrasing, breathtaking messa di voce, and seamless legato lines. Combined with his natural temperament, he once again demonstrates his exceptional sensitivity to vocal colour, subtle poetic interpretation, dynamic nuance, and a seamlessly robust vocal approach—qualities that have made him so renowned.Online Merker
Written for various reasons—commissions, tributes, or artistic collaborations – these melodies cover a wide range of emotions, all marked by theatricality, elegance, and an effortless musicality that makes them instantly captivating… This third volume also offers a rare opportunity to hear Michael Spyres in the romantic repertoire, where he remains unrivalled. The American tenor once again demonstrates his deep understanding of the bel canto style and his mastery of the French language, delivering each prosodic nuance with clarity that makes every word intelligible.Forum Opéra
This romantic repertoire suits Marie-Nicole Lemieux [in Volume 4] perfectly. She skilfully balances the intimate moments with the theatrical passages, thanks in part to the assertive pianist. Compared to the masterpieces of Schubert and Schumann, the songs of the maestro from Bergamo are often more sensual, charming, and exuberant, though at times more stereotypically tailored for the salon. However, they always allow the voice to shine beautifully, while the piano part remains equally rewarding… The beautifully illustrated 64-page booklet also leaves nothing to be desired. I am already looking forward to the second half of this enchanting song collection. Der Gelderlander
These two new releases from Opera Rara continue to uncover Donizettian wonders in the hands of two talented performers… Spyres displays a lyrical timbre full of nuance and comfort in the high and middle registers… [In O ma harpe, mon seul heritage] he transports us to that salon atmosphere, demonstrating his liederistic qualities accompanied by Rizzi who is an indispensable co-performer… Lemieux and Zappa form a well-connected duo whose fluidity together from the exposition of their Volume leaves the listener wanting more music by the end. Opéra Actual
This Sunday 16 March from 4pm GMT, we’ll be streaming our fourth ‘Donizetti & Friends’ recital captured at London’s Cadogan Hall on Monday 10 March. Michael Spyres, Marie-Nicole Lemieux and Giulio Zappa present rare Donizetti songs featured on our latest Donizetti Songs Volumes 3 and 4 albums, as well as those by his contemporary Hector Berlioz.
Reviewing the live concert, Bachtrack said: Michael Spyres throughout the evening, he showed a constant sense of the text and a palpable feeling of savouring the French language.
Like Spyres, Marie-Nicole Lemieux’s every syllable was carefully phrased in a voice of mescal smokiness. Her higher register was secure and generous, blasting out the top notes with cheerful abandon, and her ample lower voice cavernous.
Vividly accompanied by Zappa – one scarcely missed the full orchestra – this was a visceral performance. This was a thoroughly rewarding evening that, despite Berlioz and Bizet’s best efforts, showcased Donizetti’s fecund facility for the song.
Revealing our March Recording of the Month: Rossini’s Aureliano in Palmira written when the composer was only 21 (1813) and in the same year he produced three other operas!
Kenneth Tarver is Aureliano with London Philharmonic Orchestra conducted by Maurizio Benini. The cast is completed by Catriona Smith as Zenobia, Silvia Tro Santa Fé as Arsace, Ezgi Kutlu as Publia, Julian Alexander Smith as Oraspe, Vuyani Mlinde as Licino, Andrew Foster-Williams as The High Priest and the Geoffrey Mitchell Choir.
This world premiere studio recording was released in 2011 with Opera News commenting at the time: Kenneth Tarver employs his light lyric tenor to great effect in the title role. He tosses off the high-flying role with ease and purity of tone… Without question, the vocal honours here go to the Arsace, mezzo Silvia Tro Santafé, who contributes a fear less and virtuoso performance that is both fiery and passionate, finding many vocal colours and nuances that illuminate character and emotion.
Rossini lovers will recognise that the overture now available on our YouTube channel was recycled by the composer in a handful of his other scores most notably… Il barbiere di Siviglia!
On Friday 21 March, we will be releasing the first ever studio recording of the original 1857 version of Verdi’s Simon Boccanegra.
For this recording, we teamed up with its former Artistic Director Sir Mark Elder, The Hallé and the choruses of Opera North and the Royal Northern College of Music. Argentinean baritone Germán Enrique Alcántara takes up the title role and is joined by Japanese soprano Eri Nakamura as Amelia and British bass William Thomas as Jacopo Fiesco.
We recorded Simon Boccanegra a week prior to a concert performance at Manchester’s Bridgewater Hall in April 2024 which received five stars from The Times, The Daily Telegraph and Bachtrack, amongst others, and was described by Opera as “a monumental performance, and another worthy revival by Opera Rara” and a “ground-breaking collaborative event” by The Arts Desk.
The Spring 2025 issue of Opera Now is now available and we’re delighted that our Artist Ambassadors Michael Spyres and Ermonela Jaho are on the cover.
Taking time out of recording sessions with our Artistic Director Carlo Rizzi, Michael and Ermonela sat down with Opera Now’s Mark Pullinger to talk about their relationship with Opera Rara including their first projects with us as well as reflecting on being part of our multi-year Donizetti Song Project.
Jaho is full of admiration for the label. ‘It’s run by love. As artists, you need to feel loved and appreciated to give your best and Opera Rara does this.’ ‘It’s nurturing,’ Spyres interjects. ‘Exactly,’ Jaho replies. ‘And you don’t feel judged. You become a better singer and a better human being. To do that in harmony is something very difficult to do in opera houses today.’ Because of the time constraints in staging opera with minuscule rehearsals? Jaho nods.
Our February Recording of the Month is Jules Massenet’s Le Portrait de Manon – a one-act follow up to his most well-known opera Manon.
For this live recording – also featuring Berlioz’s Les Nuits d’été – we worked with four singers and two conductors from Royal Ballet and Opera’s Jette Parker Young Artists Programme.
I would certainly recommend this recording, especially to fans of Massenet’s operas who want to see the character of Des Grieux in his maturity and to hear how the composer quotes his most popular work effectively in its sequel – American Record Guide
We’re delighted to announce the forthcoming release of Donizetti Songs Volumes 3 and 4 on Friday 21 February.
The prolific and versatile Italian composer Gaetano Donizetti was not only one of the central figures of Italian bel canto opera but also wrote around 200 songs. Here we present songs for tenor and mezzo-soprano which are rarely performed and some, until recently, completely unknown.
Our Artistic Director Carlo Rizzi at the piano performs with American tenor Michael Spyres on Volume 3; and on Volume 4, Canadian mezzo-soprano Marie-Nicole Lemieux performs with Italian pianist Giulio Zappa.
Our first Recording of the Month of 2025 is Donizetti’s Caterina Cornaro featuring Carmen Giannattasio in the title role and Colin Lee as Gerardo. The cast is completed by Troy Cook, Vuyan Mlinde, Graeme Broadbent, Sophie Bevan and Loïc Félix with David Parry conducting the BBC Symphony Orchestra and BBC Singers.
Written in the extremely productive last period of Donizetti’s life – between Don Pasquale and Linda di Chamounix – Caterina Cornaro was, in fact, the very last of his operas to be premiered in the composer’s lifetime. One of Opera Rara’s founder Patric Schmid’s favourite works, this is one of Donizetti’s most deeply felt, atmospheric and dramatically truthful scores. As David Parry explains: This is the only opera of this later period not to have had the benefit of a decent modern recording… the opera requires a prima donna with a wonderful voice, extraordinary technique and exceptional histrionic ability, which we have in Carmen Giannattasio: the role could actually have been written for her.
Recorded in November 2011, The Guardian at the time of the release said: Powerhouse performances by Colin Lee (Gerardo) and Troy Cook (Lusignano), whose big duet together is very classyindeed;and Gramophone said: Giannattasio shows once again how admirably suited she is to the bel canto repertoire. Her opening Romanza encapsulates her virtues: a good legato line… followed by an equally expressive cabaletta.
Head over to our YouTube channel to listen to excerpts from the opera and look out for track reveals over the coming days and weeks:
