Dive into the gritty underbelly of late 19th-century Naples with Umberto Giordano's powerful opera "Mala vita." This compelling work, released on February 1, 2014, by the esteemed label Bongiovanni, offers a stark and vivid portrayal of life in the city's slums, much like its contemporary, "Cavalleria rusticana." Giordano's masterful composition, spanning just over an hour and fourteen minutes, is a gripping exploration of love, despair, and the harsh realities of poverty.
"Mala vita" is a melodramma in three acts, originally premiered in 1892. To appeal to a broader Italian audience, Giordano revised the work, toning down its more explicit elements and altering its setting. The opera is renowned for its evocative choruses and intense duets, which bring the story's tumultuous events to life. The album features a stellar cast of vocalists, each bringing depth and nuance to their respective roles, from the tormented Marco to the innocent Cristina.
The opera's rich orchestration and memorable arias make "Mala vita" a standout piece in Giordano's repertoire. The album's tracklist follows the opera's structure, with each scene and aria meticulously presented to capture the drama and passion of the original stage production. From the haunting "Canzone. Sapete voi la storia?" to the climactic "Finale. Lascia quei cenci … !", every moment is a testament to Giordano's musical genius and his ability to convey the human condition through music.
For opera enthusiasts and those new to the genre alike, "Giordano: Mala vita" is an essential addition to any collection. The album not only showcases Giordano's talent but also provides a glimpse into the social issues of his time, making it a historically significant and artistically rich experience.
2014 Bongiovanni2014 Bongiovanni
Tracks
Mala vita, Act I Scene 1: Son grida! Sentite (Chorus)Umberto Giordano, Angelo Cavallaro, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act I Scene 1: Canzone. Sapete voi la storia? (Marco, Chorus)Umberto Giordano, Angelo Cavallaro, Antonio Rea, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act I Scene 2: Fa paura (Marco, Vito, Chorus)Umberto Giordano, Antonio Rea, Maurizio Graziani, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act I Scene 2: Il Voto. O Gesu mio d'amor (Vito, Chorus)Umberto Giordano, Maurizio Graziani, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act I Scene 3: Ecco chi ci può dir la verita (Annetiello)Umberto Giordano, Angelo Cavallaro, Massimo Simeoli, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act I Scene 3: Canzone. Tutto e già pronto (Annetiello, Chorus)Umberto Giordano, Angelo Cavallaro, Massimo Simeoli, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act I Scene 3: Edora da zio Tore (Annetiello)Umberto Giordano, Angelo Cavallaro, Massimo Simeoli, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act I Scene 4: Duetto. Questo fior voi lo gettaste a me? (Cristina, Vito)Umberto Giordano, Paola di Gregorio, Maurizio Graziani, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act I Scene 5: Finale. Bella, anzi bellissima (Annetiello)Umberto Giordano, Angelo Cavallaro, Massimo Simeoli, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act II Scene 1: Nunzia non viene (Amalia, Nunzia)Umberto Giordano, Angelo Cavallaro, Maria Miccoli, Tiziana Portoghese, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act II Scene 1: Duetto. Madonna, non mi far impazzire (Amalia, Cristina)Umberto Giordano, Angelo Cavallaro, Maria Miccoli, Paola di Gregorio, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act II Scene 2: IntermezzoUmberto Giordano, Angelo Cavallaro, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act II Scene 3: Finale. Amalia, Amalia (Vito, Amalia)Umberto Giordano, Maurizio Graziani, Maria Miccoli, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act III Scene 1: Canzone. Quattro! Sette! … Canzon d'amor (Vito, Chorus)Umberto Giordano, Maurizio Graziani, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act III Scene 1: TarantellaUmberto Giordano, Angelo Cavallaro, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act III Scene 2: Canzone. La canzon, la canzon - Bravi (Annetiello, Chorus)Umberto Giordano, Angelo Cavallaro, Massimo Simeoli, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata
Mala vita, Act III Scene 3: Intermezzo e Duetto. Buona sera! (Cristina, Vito)Umberto Giordano, Paola di Gregorio, Maurizio Graziani, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act III Scene 4: O Vito, o Vito (Cristina, Amalia, Vito)Umberto Giordano, Paola di Gregorio, Maria Miccoli, Maurizio Graziani, Orchestra Lirico Sinfonica della Capitanata, Angelo Cavallaro
Mala vita, Act III Scene 5: Finale. Lascia quei cenci … ! (Cristina, Chorus)Umberto Giordano, Angelo Cavallaro, Paola di Gregorio, Coro Lirico Umberto Giordano, Orchestra Lirico Sinfonica della Capitanata
Umberto Giordano, born in Foggia, Italy, in 1867, was a prominent composer renowned for his contributions to the verismo opera genre. His most celebrated work, "Andrea Chénier," premiered at La Scala in Milan in 1896 and remains a staple in the operatic canon, known for its complex vocal demands and dramatic intensity. Giordano's music is characterized by its forceful melodrama and rich orchestration, which he masterfully employed to bring emotional depth and realism to his operas. Other notable works by Giordano include "Fedora," which debuted in 1898 with the legendary Enrico Caruso in the lead role, and "Siberia," both of which showcase his unique blend of lyricism and verismo style. Giordano's compositions continue to captivate audiences with their powerful narratives and evocative music, securing his place as one of the most influential Italian composers of the late 19th and early 20th centuries.
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Umberto Giordano
