Lauro Rossi was a prominent composer and teacher in the period from 1830 to 1880. A brilliant, lively personality from both a humanistic and artistic point of view emerges from the documents. Modern critics have included him in the indistinct group of 'lesser' names from the period of Bellini and Donizetti, acknowledging his ability and primary role in the buffo genre, considering with equally close attention his later writing in the serious genre. Rossi's Il domino nero was staged for the first time at Milan's Teatro alla Canobbiana on September 1, 1849. The subject was used for the first time in the libretto Eugene Scribe wrote for Le domino noir, an opera comique in three acts by Daniel Auber, successfully staged at the Salle de la Bourse in Paris on December 2, 1837 and performed by Laure Cinti Damoreau and Joseph-Antoine-Charles Couderc. Rubino kept the period and the setting in Spain and used some of the ideas, but in substance moved away from Scribe's plot. As well as the adaptability and technical ability in belcanto style, the singers must have first-rate acting talent. Rossi had the gift of simplicity and a 'modern' sensitivity, which goes beyond Rossini and Donizetti's great teaching. By choice, his writing is easily followed, whereas his solid training in composition can be noted above all in the skill with which he treats the chorus, which has a key role, from the point of view of both music and stage presence.
J**G
An endearing curiosity.
Lauro Rossi is not exactly a household name among opera buffs. Indeed, the New Penguin Guide to Opera doesn't even list him. He was prominent and successful in the mid 19th century and, based on this opera, his work does not deserve to be forgotten.Il Domino Nero is a curious work. Though Rossi came from the bel canto era and is apt to be considered a bel canto composer, this opera, dating from 1849, sounds more like a mixture of Verdi and Sullivan than of Bellini or Donizetti, more in line with (later) operettas (though there is no spoken passages and little recitative) than with the opera buffa of, say, Rossini or Donizetti. That said, the opera contains much interesting music -- not great, but certainly worth hearing, more so than much of Verdi or Donizetti. It should be great musical theatre and one would like to see a revival. (There does not appear to be a DVD of the 2001 production that is recorded here.)The forces in this recording are not outstanding, but they are more than adequate. Indeed there is some lovely and distinguished singing, especially by soprano Chiara Taigi who has a marvellous voice. The booklet is a model of its kind, with a well-done and informative commentary on Rossi and the opera, a libretto in Italian and English and some information of the cast (though that is only in Italian.)I've enjoyed listening to this recording several times and expect to enjoy hearing it several times more.
R**.
A gem from the late Bel Canto period
If you like the Bel Canto period this is a delightful opera to add to your collection. The only downside is the quality of the sound, rather muted. The singing is very compitent and orchestra playing precise. The CD does not include the libretto or story recap.
B**Y
In the shadow of Donizetti and Verdi
Italian composer and musician Lauro Rossi (1812-1885) is even less well known that Pacini and Mercadante, who, at least, arguably, are recognized as important Italian operatic composers. Yet Rossi composed works of genuine worth and beauty, perhaps none more interesting and entertaining than his opera IL DOMINO NERO. By the late 1840s and '50s Verdi had established his dominance in "serious" opera. Like the Ricci brothers (in CRISPINO E LA COMARE), Pedrotti (TUTTO IN MASCHERA), and Gaetano Braga (IL RITRATTO), Rossi concentrated largely on opera buffa. IL DOMINO NERO was premiered in 1859, and was an immediate hit, and remained in the repertoire until the late 1870s. The present recording is quite fine, with vocal contributions that range from very good to excellent. In particular soprano Chiara Taigi, Spanish tenor Luis Damaso, and Mario Buda make a very strong case for its revival. In particular the second and third acts are quite beautiful. Detailed notes, cast bios, and a bilingual Italian-English libretto are included. Lovers of late Donizetti and early Verdi will enjoy this release greatly. Recommended.
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