Pacini's "Carlo di Borgogna" is certainly a most unusual opera. Just like "Il giuramento", it features a rather sub-standard libretto, to be honest, even by romantic standards the story features just too many chance meetings between the four main protagonists and too many unexplained phenomenons. Here is a short recapitulation of the story.

Carlo (tenor, originally sung by Donzelli) returns to Dijon after suppressing a revolt in Liege to an adoring populace and his betrothed and the daughter of his mentor, Arnoldo (baritone, Domenico Cosselli), Estrella (mezzo, Giuditta Grisi). But a quick letter from England which demands that Carlo weds Leonora of York and the political importance of such a move forces the ruler to give up Estrella which is viewed by both father and daughter as betrayal. The subsequent wedding procession is distrusted by a half-crazed Estrella and Arnoldo who challenges the English ambassador to a duel and who presumably dies offstage, while all sing a confused final stretta. That's pretty straightforward. But in Act Two (and Three) there is silliness abound: Arnoldo turns up, disguised as a black knight and waiting for a chance to kill Carlo, and joins the Swiss army. Meanwhile, Estrella has found herself a convinent little castle, where she spends her time by being a "saint" to the local populace and by building herself a secret panel in the stone wall to shock her visitors. In, of course, stumbles Carlo and the lovers have themselves a big furious duet. Where is Leonora, you might ask? Well, she appears liberally throughout the second half of the opera dressed as a boy and searching for Carlo. She is captured two times by Arnoldo and once by Estrella, sings a duet with them and then is let go. The finale is even more romanticized: the Swiss are throwing rocks on Carlo's army; Arnoldo kills Carlo; and Estrella, apparently shocked into cardiac arrest by the whole affair, falls to the ground with the words "ed io moro, o dio!"...

So again the music matters most, and, though the opera flopped spectacularly at the premiere, it's actually very interesting and, in the context of the story, entertaining at the very least. It's doesn't help turn the libretto into a true drama or truly enliven the cardboard figures of the story, but it's certainly a miraculous achievement for Pacini. The music shares at once the floridness and fun on Rossini, Bellini's pathos and Donizetti's dramatics, making for something of a revelation on many counts. Several interesting ideas keep our interest throughout: the chorus is given a particularly active and vocally difficult part, almost resulting in a fifth member of the drama; cabalettas are shortened slightly, both providing a flow of action and giving an opportunity for the singers to vocalize; moreover, Pacini plays with out knowledge of the formulaic structure of different pieces, thus a long scene for Estrella and then Carlo, seemingly leading both times into an aria, is resolved by a duet. But you be the judge...

As I don't want to give too much away from Opera Rara's excellent recording of the work, my uploads are going to be limited to a couple of numbers, just to give you an opportunity to fell the style of the work. These are going to be the brilliant introduction to the work, a grand number but providing the same amount of interest and drama as Mercadante's opening to "Il giuramento", a solitary chorus and, possibly, a duet from Act Two.

We will, of course, start with the introduction. Here is a list of the soloists:

Arnoldo - Roberto Frontali,
Carlo - Bruce Ford,
Estrella - Jennifer Larmore.

1. 0:00 - 2:27. A wonderful opening prelude, opening with crashing chords, but quickly settling for a more gentle string accompaniment with horn and flute providing extensive solos. For me, this passage would have to symbolize the dawn over Dijon. A more minor brass section with trembling strings provides a stark contrast, perhaps, signaling the drama of the piece.
2. 2:27 - 6:12. "Odi: i cannoni annunziano", a celebratory opening chorus with uses of bells and cannon fire. Carlo is returning to his hometown, as the chorus floods the stage in preparation of his appearance. The melody is elegant and perfectly sets up the grand scene. Moreover, one notices just how florid are the choral lines. Arnoldo's presence is quickly noticed by the populace.
3. 6:12 - 7:56. "Di mie cure, di mia fede", the cavatina for Arnoldo, relishing the happiness which surrounds him. Interestingly enough, the baritone and mezzo cavatinas are actually based on musical ideas already quoted in the prelude, giving the whole introduction a feeling of unity.
4. 7:57 - to the end. "Senti, senti gurreschi concenti", another chorus, in contrast to the impatient first chorus, still hoping for their leader to appear, the people have just heard the music of Carlo's band. The music is appropriately changed to a more stately theme, as Carlo's men appear on stage.

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