Author: James Sohre

Those opera lovers prone to rage at the perceived dominance of the director in their beloved art form today may collapse in apoplexy at this first release from the company called SignumVision.

The word “living” would be a fitting addition to the subtitle of this collection of “Songs by American Composers.”

“An all-American Norma,” Roger Pines calls this release in his entertaining booklet essay.

For adherents of the prima voce school of opera appreciation, this Laurent Pelly production of Donizetti’s comic masterpiece may not hold that much appeal.

EMI’s publicity for this studio recording focuses on soprano Angela Gheorghiu and her portrayal of Cio-Cio-San.

Of Donizetti’s 55 operas, four to five hold on to secure places in the repertory, a much greater number are all but unknown, and in the middle come the titles that see occasional revivals, as flawed but fascinating rarities.

This looks like a winner, with an esteemed conductor (Zubin Mehta), top-rank cast (Violeta Urmana, Marcello Giordani, Carlo Guelfi), and a production directed by Nicholas JoÎl that originated at the Opernhaus Z¸rich, a house that takes some chances and scores some successes.

The strategies of non-traditional opera directors are becoming as predictable and formulaic as the stuffy, static traditional productions that they work so hard not to emulate.

If the economic downturn has canceled some opera lovers plans to attend any of the appealing European summer festivals, perhaps a trip online will find a DVD of a production from a recent year.

Like a baseball player with a low batting average but a propensity for home runs, Gaetano Donizetti composed dozens of operas, among which only a very few get frequent performances today.