This recording of Bellini's Zaira is of the 2012 performance at Martina Franca. This is only the fourth production in modern times. Zaira began as unsuccessful, although perhaps unjustly so. The composer did not even enter the stage for final bows at the premier because his music was received so poorly. This is due in part to Bellini turning down libretto by Luigi Torrigiani, who was soon after appointed as "composer and overseer of performances," and sought revenge on Bellini. The vocal style of this opera has been called by some "expressive athleticism." Trills, turns, filaturas, and mordents test the vocalist's skills in this production.
2 Act I: Per Chi Mai, Per Chi Pugnasti... Il Mio Zel la Trovera
3 Act I: Recitative: Della Mia Gioia a Parte... Amo Ed Amata Io Sono
4 Act I: Non E, Non E Tormento
5 Act I: Zaira, Te Sua Sultana Gia Saluta
6 Act I: Recitative: Vieni L'albergo E Questo
7 Act I: Chi CI Toglie Ai Ceppi Nostri?
8 Act I: Trio: Zaira! a Che Vieni, Infedel?
9 Act I: Qui, Crudele, in Questa Terra
10 Act I: Recitative and Duet: Liberi Tornin Tutti
11 Act I: Oh! Qual Vibrasti Orribile
12 Act I: Quartet: Ah! Qual Suon!
13 Act I: Io Sapro Da Qual Deriva
- Disc 2 -
1 Act II: Che a Te Mi Guidi Amore
2 Act II: Duet: Deh! Se Tu M'ami, O Barbara
3 Act II: Piu Non E
4 Act II: Vieni... O Zaira! in Quel Momento
5 Act II: Si, Mi Vedra la Barbara
6 Act II: Duet: Abbia L'estinto... E Pur Ora Al Mio Cospetto
7 Act II: Corri, Vola, E in Questo Scritto
8 Act II: Che Fia? Mi Lascia!
9 Act II: Poni Il Fedel Tuo Martire
10 Act II: Ah Crudeli, Chiamarmi Alla Vita
11 Act II: E Notte Alfin... O Mia Zaira! or Seguimi... Un Grido D'orrore
This recording of Bellini's Zaira is of the 2012 performance at Martina Franca. This is only the fourth production in modern times. Zaira began as unsuccessful, although perhaps unjustly so. The composer did not even enter the stage for final bows at the premier because his music was received so poorly. This is due in part to Bellini turning down libretto by Luigi Torrigiani, who was soon after appointed as "composer and overseer of performances," and sought revenge on Bellini. The vocal style of this opera has been called by some "expressive athleticism." Trills, turns, filaturas, and mordents test the vocalist's skills in this production.