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Marino Faliero marked Donizetti's Paris debut, which took place in 1835, not long after the premiere of Bellini's I Puritani, with which it shared a stellar cast. Marino Faliero did not match Puritani's success, but it was appreciated by the exiled republican Giuseppe Mazzini, and one can understand why: no other Donizetti work so clearly looks forward--particularly in its cabalettas--to the rousing Risorgimento spirit of Verdi's early works, and the fact that the Doge Faliero joins the populace of Venice in rising (unsuccessfully) against a corrupt oligarchy clearly was perceived at the time as a political statement. The plot, however, is too confused to have a similar effect today, and the love story that intertwines with the affairs of state (Faliero's wife, Elena, is in love with his nephew, Fernando) is equally awkward in its pacing and motivation. And while the music is clearly crafted with the confidence of a mature composer, it never attains the consistently inspired level of Donizetti's major works--or so it seemed, as staged by La Fenice at the Teatro Malibran (seen June 29).
The production by director Daniele Abbado and designer Gianni Carluccio, set in a singularly gray Venice with costumes of varying epochs, lacked conviction throughout, and the cast, though prestigious, failed to bring the characters to ...