Giordano: Marina’s Album Review – a fascinating revival of the original unsung opera | Classical music

Met was a bold move by 21-year-old Umberto Giordano to enter the 1888 opera competition with Mascagni’s Cavalleria Rusticana. Marina, who was in Montenegro during an undisclosed clash with Serbia, became sixth, the number decreasing until 2026, when she received her debut at Milan’s Teatro dal Verme. This recording shows a composer who has a keen ear for all kinds of music, even if the opera is not very good.

When Marina, a Montenegrin, takes in Giorgio, an injured Serb, an inevitable conflict with his brother and a rival athlete leads to a familiar disaster. After the opening of the war, Marina takes the main role with the opportunity to lose. His experience with the injured Giorgio follows suddenly, after he is redeemed by Giordano’s ability to sing seductive songs. It’s not the most sophisticated writing but it comes from the heart.

There’s a drinking song that sounds like a crib from Verdi’s Otello and a Montenegrin patriotic song that, aside from Giorgio’s brief, is very popular. The scene between Marina and her brother is well-judged, although the one-dimensional nature may hinder the development of character that a long work would allow.

Eleonora Buratto is outstanding as Marina, her bright soprano pleasing above. As Giorgio, Freddie De Tommaso proves the hero of verismo, his dark but proper Italian voice. Orchestra I Pomeriggi Musicali is good and safe under the baton of Vincenzo Milletarì.

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