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The one act opera giacosa "Betly" was composed by Donizetti during the summer of 1836, along with the farce "Il campanello della notte" (excepts from which have been uploaded earlier). Both pieces were intended to be performed together, for Donizetti felt that they complimented each other exactly, and it is undeniable that the works are congenial to each other: "Il campanello" is rollicking good humor throughout, "Betly" - a diverting love story full of pastoral naiveté. However, I have not found any information on such a production to have taken place either in the composer's lifetime or in the decades to follow. "Betly" was adapted from the libretto of Eugene Scribe for an opera "Le chalet" by Adam which, just as was the case with Isouard's "Cendrillon" and Rossini's "La Cenerentola", was already well-known to European audiences. Nonetheless, Donizetti's opera premiered on August 24, 1836 at the Teatro Nuovo of Naples and was very well received, remaining popular (as did "Le chalet", in fact) until the middle of the century when its popularity died out. Another version, expanding the opera to two acts and including a confrontational duet for the lovers just before Max's arrival, was probably presented on September 29, 1837 at the Teatro del Fondo, also situated in Naples. The narrative is uncomplicated, straightforward and, thus, extremely believable: Betly (soprano), a flirtatious and free-spirited Swiss girl, is quite fond of the young Daniel (tenor), yet she doesn't reciprocate his ardent love. To bring the pair together the townspeople of the village Appenzell have prepared a phony love letter from Betly to Daniel. However, the girl makes fun of her suitor, quickly dashing his hopes. Daniel, in despair, stumbles upon a troop of Swiss soldiers and quickly attempts to enlist. He confides in the sergeant, Max Starner (baritone), not realizing he is Betly's brother, gone for more than fifteen years from his homeland. Max decides to teach a lesson to his sister: he frightens her into believing that she will be had at the hands and pleasure of his troop. Betly quickly begs Daniel to keep the soldiers away from her; the latter promptly defends her honor. Max challenges Daniel to a duel at which time Betly attempts to save him by claiming him in marriage. When the truth is finally brought out, Betly realizes the error of her ways, and all ends happily. Like Donizetti's best works, "Betly" contains an abundance of fresh melodic invention, delightful orchestration and graceful vocal writing. In fact, I truly cannot point out any apparent flaws in the opera. The Swiss village and its inhabitants are brought to life by admirably charming music: each character is given a sincere introductory cavatina ranging from Daniel's slightly immature music to Betly's gentle yodeling song (probably the only allusion to the work's setting) to Max's tearful greeting to his homeland; the three ensembles that appear in the original version of the opera are all proof of the composer's good humor (thus, the duet between Betly and Daniel ends in a cadenza for Betly which is interspersed with Daniel's joyous yelps, as the lad seems unable to grasp his happiness); even the potentially second-rate final rondo is brilliantly handled by the composer. What's more, Donizetti wrote the librettos to both operas which leads to a striking correlation between the narrative and the music. If anything, the work proves one important notion about which I feel very strongly: Donizetti was, for better or for worse, a composer for comedies. Light, delightful, absolutely brilliant comedies, completely on par with those by Rossini. I cannot deny that his more tragic works have their own glories (Donizetti did compose what is probably the best mad scene in the whole ottocento period) but I do feel that the composer's particular talents were much better suited to lighter music which shimmers, sparkles, shines, swirls and does any other delightful thing starting with "s", while his tragedies are often much more unevenly written, uniting moments both of supreme inspiration and of much more limited effect. All in all, I cannot see any obstacles for "Betly" on its path to delighting the listener. The live 1990 recording that I am using in this case presents the original version of the opera. Undoubtedly there are moments of rawness on the part of the singers, though the whole team contributes to an unmistakably Italian performance of the greatest charm. Betly - Susanna Rigacci, Daniel - Maurizio Comencini, Max - Roberto Scaltriti. Orchestra Sinfonica dell'Emilia Romagna, Coro del Teatro Rossini di Lugo, Bruno Rigacci. Hope you'll enjoy :).