- Gioachino Rossini (1792 - 1868): Demetrio e Polibio, Act I:
- 1 Demetrio e Polibio, Act I: Sinfonia 06:08
- 2 Demetrio e Polibio, Act I: Mio figlio non sei (Polibio, Siveno) 05:22
- 3 Demetrio e Polibio, Act I: Vanne al tempio, o Siveno (Polibio, Siveno) 00:45
- 4 Demetrio e Polibio, Act I: Pien di contento in seno (Siveno) 03:52
- 5 Demetrio e Polibio, Act I: March 00:36
- 6 Demetrio e Polibio, Act I: Il monarca di Siria al Re de' Parti (Eumene, Polibio) 03:14
- 7 Demetrio e Polibio, Act I: Non cimentar lo sdegno (Polibio, Eumene) 05:30
- 8 Demetrio e Polibio, Act I: Nobil gentil donzella (Chorus) 01:44
- 9 Demetrio e Polibio, Act I: Deh! fate, amici Dei (Lisinga) 00:34
- 10 Demetrio e Polibio, Act I: Alla pompa già m'appresso (Lisinga) 01:51
- 11 Demetrio e Polibio, Act I: Dell'ara v'appressate (Polibio) 00:21
- 12 Demetrio e Polibio, Act I: Questo cor ti giura amore (Lisinga, Siveno) 04:59
- 13 Demetrio e Polibio, Act I: Sì, mia vita, sarai sempre (Siveno, Lisinga, Polibio) 01:08
- 14 Demetrio e Polibio, Act I: Demetrio, de' Siri re potente (Polibio, Siveno, Lisinga) 01:28
- 15 Demetrio e Polibio, Act I: Sempre teco, ognor contenta (Lisinga, Siveno, Polibio, Chorus) 07:02
- 16 Demetrio e Polibio, Act I: Che pensi, o padre! (Siveno, Polibio) 01:04
- 17 Demetrio e Polibio, Act I: Andiamo taciti (Chorus) 01:20
- 18 Demetrio e Polibio, Act I: Amici, già omai propizia (Eumene) 01:15
- 19 Demetrio e Polibio, Act I: All'alta impresa tutti (Eumene, Chorus) 06:05
- 20 Demetrio e Polibio, Act I: Mi scende nell'alma (Lisinga, Eumene, Siveno, Polibio, Chorus) 10:06
- Demetrio e Polibio, Act II:
- 21 Demetrio e Polibio, Act II: Ah che la doglia amara - Dove la cara figlia (Chorus, Polibio) 04:20
- 22 Demetrio e Polibio, Act II: Come sperar riposo (Polibio, Siveno, Chorus) 05:12
- 23 Demetrio e Polibio, Act II: Dove vuoi trarmi (Lisinga, Eumene, Siveno, Polibio) 00:39
- 24 Demetrio e Polibio, Act II: Donami omai Siveno (Polibio, Eumene, Lisinga, Siveno) 08:03
- 25 Demetrio e Polibio, Act II: Vieni, caro, al mio sen (Eumene, Siveno) 00:53
- 26 Demetrio e Polibio, Act II: Perdon ti chiedo, o padre (Siveno) 05:07
- 27 Demetrio e Polibio, Act II: Io più sposo non ho (Lisinga, Polibio) 04:07
- 28 Demetrio e Polibio, Act II: Superbo, ah! tu vedrai (Lisinga, Chorus) 07:15
- 29 Demetrio e Polibio, Act II: Che feci mai? (Eumene) 02:25
- 30 Demetrio e Polibio, Act II: Lungi dal figlio amato (Eumene, Chorus, Lisinga, Siveno) 05:24
- 31 Demetrio e Polibio, Act II: March - Festosi al re si vada (Chorus) 00:44
- 32 Demetrio e Polibio, Act II: Oh ciel, che miro! (Polibio, Eumene, Lisinga, Siveno) 01:16
- 33 Demetrio e Polibio, Act II: Quai moti al cor io sento (Lisinga, Siveno, Eumene, Polibio, Chorus) 02:42
Info for Rossini: Demetrio e Polibio
The genesis of Rossini’s first full-scale opera Demetrio e Polibio is shrouded in speculation, but its initial intention as a ‘family opera’ for the tenor Domenico Mombelli, with rôles for his daughters and a libretto by his wife seems clear. Its narrative of political turmoil, romance, kidnap, and the ultimate blessings of true love and unity is a prelude to subjects to which Rossini would frequently turn in future triumphs. The composer’s facility for melody and his genius for combining voices into the loveliest of duets is already much in evidence in this confident but rarely heard début.
„Gioachino Rossini was probably eighteen when he wrote his first opera, Demetrio e Polibio, the work given its first performance at the Teatro Valle in Rome in May 1812. That everything and anything relating to this opera is open to question is largely due to a composer who, in later life, tried to rewrite his life story so as to make himself into an incredible child prodigy. What is reasonably certain is that much of the score was not by Rossini, but was from others who had contributed before it was first seen on stage. Equally certain is that it was composed to a commission from the tenor Domenico Mombelli, who wanted it for use by his family of singers who toured Italy, and it is certainly true that the unlikely libretto was the work of Vincenzina Mombelli, Domenico’s wife. It is, in a nutshell, a story of betrayals and disguises, the young man, Siveno, raised by King Polibio, believing he is of poor parentage, and is delighted when Polibio offers his daughter, Lisinga, in marriage. In fact Siveno is the son of Demetrio, King of Syria, who demands his return, which Polibio refuses. Abductions, strife and wars ensue before all ends happily. Only four solo singers are involved, the part of Siveno here taken by the mezzo, Victoria Yarovaya, who deals admirable with the vocal acrobatics required. Sofia Mchedlishvili is a potent soprano as Lisinga, Rossini taking the singer into the outer reaches of the vocal range, though when the two singers come down to the lower register they blend perfectly in the first act duet. The two male singers have much less to do, the tenor, Ceser Arrieta, as Eumene, only allowed to make his presence really felt when we reach the end of the first act. The much experienced Italian bass, Luca Dall’Amico takes the part of Polibio; the Polish chorus do all expected of them; the Virtuosi Brunensis is as reliable as ever, and the much experienced Italian, Luciano Acocella, conducts. I presume this recording by German Radio was made in two concert performances in Bad Wildbad in July 2016, the sound quality being well balanced… Not a major revelation, but it takes Naxos ever closer to having the complete Rossini operas on disc.“ (David Denton, Review Corner)
Sofia Mchedlishvili (Lisinga)
Victoria Yarovaya (Siveno)
Cesar Arrieta (Eumene)
Luca Dall'Amico (Polibio)
Camerata Bach Choir, Poznan
Ania Michalak, chorus-master
Virtuosi Brunensis (Karel Mitáš), artistic director
Luciano Acocella
Achille Lampo, music assistant, fortepiano
Luciano Acocella
After completing his studies at the Conservatory of St. Cecilia in Rome and at the Royal Academy of Music of Copenhagen he took part in conducting master class at the Accademia Musicale Chigiana, at the Accademia Nazionale of St Cecilia Santa, at the Accademia Musicale Pescarese as well as the K. Kondrashine master class in Holland. He was awarded in the Mitropoulos Conducting Competition and in the Prokofiev Conducting Competition in 1996 and he then became Daniele Gatti's assistant for a few very fruitful years, during which he acquired a solid culture in both opera and symphonic repertoires. From that moment on he conducted mainly in Europe ( Italy, France, Spain, Belgium, Greece, Denmark and Russia) but also in United States and Asia ( Japan, Korea and China). In 2000 he made his opera debut conducting Britten's Rape of Lucrecia in Copenhagen. He was then very successful conducting Madame Butterfly and Adriana Lecouvreur performed in several Italian theatres. In 2002 he conducted Manon Lescault at the Opera of Bologna, and the Barbiere di Siviglia in Tokyo. With Bologna opera , he also did a Korean tournèe in 2004 with Rigoletto, and went back in 2006 to conduct Tosca in the historical version at the Opera di Roma. Then he started a collaboration with the Opéra d'Avignon, with different concerts and with La Bohème ( 2008) and il Viaggio a Reims (2009). Around the same time, he conducted Lucia di Lamermoor (2007 )and Manon Lescault (2009) at the Opera of Marseille, then La Traviata (2008) and Capuleti e i Montecchi in Moscow (2009); Maria Stuarda (2007) at the Opera Royal de Wallonie; il Barbiere di Siviglia (2009)at the Opera de Rouen Haute Normandie The same year the Centre Français de Promotion Lyrique de Paris invited him to conduct a production of Il Viaggio a Reims that travelled all around several Opera Houses in France until 2010. ( Reims, Avignon, Toulouse, Bordeaux, Nancy, Marseille). This tour didn't keep him from doing another production of Barbiere di Siviglia, the Cilea's Arlesiana and Mascagni's Nerone in Italy. He also debuted at la Fenice of Venice with La Traviata and in Verona with l’ Elisir d'Amore. He came back to Liège in 2010 and 2012 with Capuleti e I Montecchi and Traviata and made his debut in La Coruña with La fille du Régiment. That same year, he conducted for the first time the Orchestre National de France in the symphonic program. From 2011 to 2014 he was Musical Director at the Opera de Rouen Haute Normandie, where he offered the great symphonic works: Beethoven 9th , Mahler 1st, Brahms 1st & 4th , Ein Deutsches Requiem, Nielsen 4th, the Mussorgsky - Ravel Pictures at an exhibition, but also Mozart, Haydn, Poulenc, Stravinsky, Respighi, Debussy and Roussel. He also interpreted an extensive repertoire of contemporary music (Xenakis, Messiaen, Fedele, Tabachnik, Adams, Lindberg, Zigel and Rota) and of course opera: Carmen, la Traviata, Don Pasquale etc. In 2012, he was invited to the Festival de Musique sacrée de Marseille to play Brahms's German Requiem with the Marseille Philarmonic Orchestra as well as a few other symphonic concerts. In June of 2011, France Television asked him to conduct the first edition of Musique en Fête with the Montpellier National Orchestra in the Chorégies d'Orange, a concert broadcasted live on France 3 and Radio France. Since then, he has come back every year on the ever growing highlight of the festival, either with the Montecarlo Orchestra or with Montpellier Orchestra. During his years as a Music Director in Rouen, he also conducted la Donna del lago in Moscow , La Traviata in Liège and Avignon and was invited to the Festival de Radio France in Montpellier with the Orchestre de Chambre de Paris. He conducted the Orchestra National de France at the Théâtre des Champs Elysées in Paris, at the Reims Opera I Capuleti e i Montecchi and went back to Avignon with Pagliacci and Cavaleria Rusticana. Among the orchestras that Luciano Acocella has conducted mentionable names include; the St Petersburg Phil Orchestra, the Moscow Phil.Orchestra, the Danish Radio Symphony Orchestra, the Tokyo Phil. Orchestra, the Seoul Phil. Orchestra, the Taipei Smph. Orchestra, the Orquestra Sinfonica de Galicia, l’ Orchestre National d’Ile de France, l’ Orchestre Symphonique de Bretagne, l’Orchestre National de Lorraine, the Toscanini Orchestra of Parma, the Festival Orchestra of Miami, the Thessaloniky Symph. Orchestra Recently he made his debut at the Choregies d’ Orange and at the Rossini Festival in Bad Wildbad with Adelaide di Borgogna. Amongs his recordings highlights include ; I Capuleti e i Montecchi in the 1830-31 version of the La Scala theatre, Adelaide di Borgogna of Rossini, and a Puccini album with Melanie Diener and the Prague Philarmonic orchestra.
Booklet for Rossini: Demetrio e Polibio