Riccardo Zandonai’s opera “Francesca da Rimini” was first performed at the Metropolitan Opera in 1916 but has been revived only sporadically since. The current production premiered in 1984 and has returned for the first time in 27 years. The sets, costumes and lighting by Ezio Frigerio, Franca Squarciapino, respectively are still impressive and the cast is fine but the music, while pleasant (especially in the first act) doesn’t make much of an impression. Some may have believed a century ago that Zandonai would be another Puccini, but this is his most enduring opera and it lacks memorable music. Listen to a few minutes of “Don Carlo,” which has some similarity in plot (family members vying for the same woman) and the difference between genius and competence is immediately apparent.
“Francesca da Rimini” is saddled with a silly plot, despite its literary pedigree. The libretto is by Tito Ricordi, based on the play by Gabriele d’Annunzio, which was inspired by a passage in Dante’s “Inferno” and is supposed to be based on historical fact. It takes place in 13th century Italy among warring families. The title character is innocent but virtually everyone else is corrupt.
Francesca’s brother induces her, for political reasons, into agreeing to marriage to the deformed Gianciotto (a notoriously nasty character whom she has never met). Gianciotto’s brother Paolo appears and pretends to be Francesca’s betrothed. He doesn’t reveal his true identity but they immediately fall in love. When the second act begins, Francesca is married to Gianciotto. (The librettist doesn’t bother with what would seem to be a crucial scene, where she learns she has been duped into marrying the wrong man.) She happens to meet Paolo and delivers a rather mild rebuke for the dirty trick he perpetrated on her. He apologizes and goes off to battle, where he is wounded, albeit not seriously. He tells Francesca that it is his love for her that is killing him. (I don’t think that corny line came from Dante.) They continue this flirting in the third act, where their story is compared to Guinevere and Lancelot. By the last act, the third brother (of Gianciotto and Paolo), Malatestino, comes into the picture and apparently because of a hereditary predilection, he too falls for Francesca. He makes a pass at her, offering to poison Gianciotto but she rejects him and informs her husband of his treachery. When Gianciotto confronts Malatestino, the latter puts the blame on Paolo and they set a trap for the lovers. Sure enough, Paolo appears that night at Francesca’s room and after the two declare their love, Gianciotto stabs them both.
Francesca is a meaty part and is performed by the formidable singing-actress Eva-Maria Westbroek. She is known for her Wagnerian roles and also for playing the title character in the contemporary opera, “Anna Nicole.” As Paolo, tenor Marcello Giordani returns to form after a disappointing run in “Les Troyens.” Paolo’s two detestable brothers are played to the hilt by Mark Delevan (as Gianciotto) and Robert Brubaker (as Malatestino). Marco Armiliato conducts with verve, showing off Zandonai’s skillful orchestrations.
The last performance of “Francesca da Rimini” is March 22nd.
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