La Cena Delle Beffe

"La Cena delle Beffe" ( "The Jester's Supper" ) was Giordano's penultimate work for the stage and is probably the last of the great veristic operas. Based on a well known play by Sem Benelli who also provided the libretto, it tells the tragic tale of a revenge plan which goes horribly wrong, resulting in a double murder. In Act 1 we learn that Neri, whose brother is Gabriello, had stolen Ginevra, Gianetto's lover. The brothers had then tortured Gianetto by pricking him with swords, putting him in a sack and throwing him in the river. Not surprisingly, you may think, Gianetto plans revenge. At the "jester's supper" he stirs up trouble by attempting to drive a wedge between the brothers: he suggests that Gabriello "has his eyes" on Ginevra. Then, when Neri is drunk, he persuades him to get involved in a fight with "hoodlums" in the slums of Florence. Neri staggers out, swearing death and destruction. Gianetto steals the key to his house and tells his ( Gianetto's) servant to spread the rumour that Neri has gone mad. Gianetto spends the night with Ginevra who, in the darkness, believes him to be Neri. In Act 2, Ginevra realises that she spent the night with Gianetto and is willing to resume her relationship with him. Neri arrives and threatens Gianetto but is arrested and dragged away. In Act 3, Neri, in prison, is visited by Gianetto and a doctor who suggest that he confront some of the people he has wronged as therapy for his "madness". One of these is Lisabetta, a young woman whom he had betrayed. She, however, still has feelings for Neri and, when he feigns remorse, Gianetto allows him to leave while reminding him that it is he who will spend the night with Ginevra. In Act 4, she is awaiting Gianetto's arrival when Neri bursts in and tells Ginevra that he will kill Gianetto when he arrives. He hides and soon a shadowy figure enters the room. A struggle ensues. Neri emerges triumphant, a bloody dagger in his hand but is astounded to find Gianetto standing in the door, smiling. He had lent his coat to Gabriello, Neri's brother, who had visited Ginevra that night as he too had fallen under her charms. Neri, now truly mad, staggers into the night calling Lisabetta's name.In his review of this recording, Thomas O'Shaughnessy says that he owns the three commercially released versions of this opera "plus 5 dubs from Premiere Opera". This is also a favourite work of mine, though not to the extent that I own eight recordings of it! It does take a couple of minutes ( That's all! ) to get going ( Puccini, certainly from "Manon Lescaut" onwards, always grabs the listener at once as does Giordano himself in "Andrea Chenier" ) but it soon becomes a compelling experience. Although there is plenty of forceful singing, there is very little shouting and screaming and there are plenty of wonderfully lyrical episodes. The music, which attempts to combine the best elements of Italian and German opera, is a mixture of motivic writing for the orchestra ( the opening phrase, which is never sung, is one ) and memorable recurring lyrical phrases for the singers which, from time to time, blossom into full-throated Italianate melody. If you can, try the opening of Act 4 and you will be hooked. Highlights from Act 1 include the fine monologue for Gianetto "Calato in Arno" in which he tells his story ( Disc 1, beginning of Track 2 ), the way in which the air clears for Gianetto's lovely solo at the words "La mente delle donne" ( Disc 1, beginning of Track 3 ) soon to be followed ( at 1 min 43 secs) by one of Giordano's loveliest melodies, this time for Ginerva, at the words "Perche la donna amavedendo gli altri amare" ( it is to recur in Act 2 ). In the second act, listen out for the love duet beginning with Gianetto's solo "Mi svestii nella penombra calda e tentatrice" ( Disc 1, Track 5, 2 mins 22 secs). Ginevra's subsequent solo introduces a phrase whose full potential is to be realised at the beginning of Act 4... and then, her lovely melody from Act 1 returns. A fine ensemble for Neri's accusers ( Disc 2, Track 2, 4 mins 44 secs) is one of the highlights of Act 3. It is a pity that the orchestra can hardly be heard here. Lisabetta's ensuing solo is also lovely as is the melody Gianetto sings as he pretends to be remorseful ( "Neri, m'intendi? Abbi pieta di me". Disc 2, Track 3, 6 mins 44 secs ). After the "languido" opening of Act 4 and more fine lyrical music for Neri, Giordano introduces a passing minstrel simply so that his song can be rudely interrupted as the horrifying denoument unfolds.Of the three commercially released recordings of this opera ( the others are conducted by Olivero de Fabritiis and Nino Bolovonta) I would be inclined to choose the Fabritiis version. On balance he has the best cast although all three are well sung. The orchestral playing is also definitely superior in Fabritiis's recording. In the Sanzogno version the strings sound thin and there is some scrappy playing, especially at the end of Act 2. The balance is also awry giving undue prominence to instruments whose main function is merely to add colour. The timpani are too closely balanced and the prompter is a persistent annoyance. It is true that far more detail is audible but this is insufficient compensation for the general lack of warmth. Bolovonta's version can be ruled out because of its lifeless sound. If you do choose Sanzogno's recording, it may be a good idea to go for the one with the booklet cover showing a poster with a figure wearing a cloak ( the one which should be shown above ) rather than three characters from the 1988 production as Mr O'Shaughnessy seems to have had trouble with the recording level of that transfer.As you may have gathered, I am very keen on this opera. It will take a few hearings but it is dramatic, fast-moving and packed full of fine music. I urge you to investigate it. Although this issue comes with no documentation at all, merely a list of characters and tracks, a link is given to the Bongiovanni website where a full libretto in Italian, with an English translation, can be downloaded.