Poliuto

Based on a 1641 tragic play by Pierre Corneille, Gaetano Donizetti's 1838 opera is known today—if much at all—more for biographical than musical reasons: after the refusal of the censor in Naples to allow production, the composer decamped to Paris, where the work was staged in 1840 in a much-expanded French version titled Les Martyrs. But it was a success in neither form, and has since languished in obscurity. This rare revival of the Italian original at the 2015 Glyndebourne Festival reveals Poliuto to be an agreeable bel canto work, if also not particularly inspired. The title character is a 3rd-century Armenian nobleman whose conversion to Christianity leads to his condemnation by the proconsul Severo, after which Poliuto's wife, Paulina, decides to die with her husband, despite being in love with the Roman general. The score, which is well-crafted if not melodically memorable, is played confidently by the London Philharmonic under Enrique Mazzola, and the principals offer strong vocalism. Although Michael Fabiano seems incapable of singing below mezzo forte, his tenor suits Poliuto well, and Igor Golovatenko lends dark menace to Severo, while soprano Ana Maria Martínez brings agility and sweetness to Paulina. Unfortunately, Mariame Clément's direction is unimaginative, updating the action to what looks like a 20th-century fascist regime and having the singers emote with the most rudimentary gestures. Still, while this would never be confused with Donizetti's more popular operas, musically this production does it justice and will appeal to completists. Presented in DTS 5.1 (DTS-HD 5.1 on the Blu-ray release) and LPCM stereo, extras include a behind-the-scenes featurette, an interview with Clément, and a cast gallery. Recommended, overall. (F. Swietek)