The available information concerning Colombo, ossia La scoperta dell'America is dubious. Various hypotheses have been put forth in the last years, including the suggestion that the work is a fragment of an unfinished opera composed on a text by Felice Romani. The most recent research, however, seems to support the theory that the composition was originally conceived as a scenic cantata, that is, a cantata which was destined for the stage. This genre, quite in vogue in the first half of the century, usually served to celebrate a particular event (royal birthdays and weddings, state visits, illustrious funerals, various commemorations). For these occasions, the composer on hand would be called upon to provide his patron with an undemanding work designed to highlight the vocal prowess of one or more soloists, but without particular aesthetic aspirations, in light of it's "disposable" nature. Colombo, cantata for baritone, chorus and orchestra, was first staged at the Teatro di San Carlo in Naples on 25 April 1838. It was part of a larger spectacle including dances and operas scenes by various authors and starred the singer Paul Barroilhet, who had successfully impersonated many of Donizetti's roles. The poetry - perhaps attributable to Donizetti himself, who had been his own librettist on more than one occasion - are not unlike those typical of an opera libretto. They establish a veritable dialogue between the soloist (Christopher Columbus)and the chorus (the sailors of his ship), and are complete with stage directions aimed at an actual theatrical performance in costume (see, for example, the opening: "The sailors are lying on the ground and others are standing in great distress"; and toward the end: "Colombus runs to see the land, then kneels down and remains in this position, thanking the heavens, until the cabaletta"). The version reproduced in this release is based on the autograph manuscript of the cantata preserved today in the San Pietro a Maiella Conservatory Library in Naples.
1 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 1: Coro Di Marinai: Coro: Qual Vuoto Interminabile
2 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 2: Scena E Cavatina Colombo: Recitativo: Quai Deliri Son Questi? E Quali Ascolto
3 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 2: Scena E Cavatina Colombo: Cavatina: SÌ, Ferite! E Il Sangue Mio
4 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 3: Scena E Aria Colombo: Recitativo: Colombo: Ritiratevi Dunque, E Attento Ognuno
5 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 3: Scena E Aria Colombo: Cantabile: Bella Italia, Che Patria Mi Sei
6 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 3: Scena E Aria Colombo: Tempo Di Mezzo: Viva Il Magnanimo, - L'eroe Colombo
7 Colombo, Ossia la Scoperta Dell'america Cantata Scenica Per Baritono, Coro E Orchestra-N. 3: Scena E Aria Colombo: Cabaletta: Io Varcar Dell'oceàno
8 Suonata Per Flauto E Pianoforte, in Do
9 Moderato Per Violoncello E Pianoforte, in Sol
10 Studio Per Clarinetto, in Si Bemolle
11 Trio Per Flauto, Fagotto E Pianoforte, in Fa-Oarghetto
12 Trio Per Flauto, Fagotto E Pianoforte, in Fa-Allegro
13 Fantasia Per Flauto E Pianoforte Su Lucrezia Borgia
The available information concerning Colombo, ossia La scoperta dell'America is dubious. Various hypotheses have been put forth in the last years, including the suggestion that the work is a fragment of an unfinished opera composed on a text by Felice Romani. The most recent research, however, seems to support the theory that the composition was originally conceived as a scenic cantata, that is, a cantata which was destined for the stage. This genre, quite in vogue in the first half of the century, usually served to celebrate a particular event (royal birthdays and weddings, state visits, illustrious funerals, various commemorations). For these occasions, the composer on hand would be called upon to provide his patron with an undemanding work designed to highlight the vocal prowess of one or more soloists, but without particular aesthetic aspirations, in light of it's "disposable" nature. Colombo, cantata for baritone, chorus and orchestra, was first staged at the Teatro di San Carlo in Naples on 25 April 1838. It was part of a larger spectacle including dances and operas scenes by various authors and starred the singer Paul Barroilhet, who had successfully impersonated many of Donizetti's roles. The poetry - perhaps attributable to Donizetti himself, who had been his own librettist on more than one occasion - are not unlike those typical of an opera libretto. They establish a veritable dialogue between the soloist (Christopher Columbus)and the chorus (the sailors of his ship), and are complete with stage directions aimed at an actual theatrical performance in costume (see, for example, the opening: "The sailors are lying on the ground and others are standing in great distress"; and toward the end: "Colombus runs to see the land, then kneels down and remains in this position, thanking the heavens, until the cabaletta"). The version reproduced in this release is based on the autograph manuscript of the cantata preserved today in the San Pietro a Maiella Conservatory Library in Naples.
