Скачать или смотреть La fidanzata “No, tu non m’hai tradita!” | Gaetano Donizetti | Rosa Feola soprano & Sally Pryce harp

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ARTISTS
Rosa Feola, soprano
Sally Pryce, harp

ABOUT THE SONG
The genesis of this song is described in detail by Filippo Cicconetti in his Vita di Gaetano Donizetti (Rome: Tibertina, 1864), pp. 93-94. Cicconetti claimed to have heard it “dalla bocca stessa di chi ne fu parte” – from the mouth of the participant – and if he is to be believed, Donizetti was staying with his brother-inlaw Antonio Vasselli in Rome in 1842, when, in the hour before his departure from the city, Vasselli’s wife Isabella (“Belluccia” in the dedication) prevailed on him to fulfil an old promise and write a Romanza for her. Donizetti decided on the theme of betrayed love, which was in those days popular in Rome. This information certainly chimes with that given by Zavadini (see above). The other dedicatee mentioned by Zavadini (“Rosuccia”) was Isabella Vasselli’s sister Rosina, whom Donizetti frequently refers to in letters to his brother-in-law. The accompaniment is marked “PIANOFORTE O ARPA” but seems to have been written for the latter, with perhaps the publisher providing the alternative instrument.

Musically, the song offers some support for Cicconetti’s narrative of its origins. Although beautifully written for the voice, it has little of the complexity that became such a hallmark of the later Donizetti, seeming more like a simple celebration of the melodic facility for which the composer had become so justly famous.

ABOUT THE DONIZETTI SONG PROJECT
The prolific and versatile Italian composer Gaetano Donizetti, one of the central figures of Italian bel canto opera, also wrote around 200 songs. Most of them are rarely performed and some, until recently, completely unknown. Curated by musicologist Roger Parker and under the leadership of Opera Rara’s Artistic Director Carlo Rizzi, Opera Rara presents the complete solo songs in a series of eight recital albums.

The project makes a powerful case for Donizetti as a key figure in 19th-century song repertoire, and for the importance of the Italian school in a field long dominated by German and French composers.

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