Orchestra Accademia Teatro alla Scala, Coro del Teatro Municipale di Piacenza, Sesto Quatrini (conductor), Cecilia Ligorio (director)
Nicola Vaccaj belonged to the Neapolitan School. He was a pupil of Paisiello and a contemporary of Rossini, whose fame somewhat obscured his own. But he was well enough known and appreciated during his day that an extract from the last Act of his Giulietta e Romeo was chosen as a substitute for the same aria in Bellini’s I Capuleti e I Montecchi for an 1832 performance. This arrangement remained common practice until the end of the 19th century. It’s hard to believe, therefore, that Vaccaj’s most notable success has been neglected for such a long time, since it is “an opera that could easily hold its own among the better-known works in the bel canto canon. It has a taut plot, with a strong libretto written by Romani, and is full of well-constructed ensemble pieces.” - (Operawire).
"Raffaella Lupinacci's characterful, fruity mezzo is matched by detailed and lively acting, and Leonor Bonilla brings a bright, elegant soprano and oodles of charm to Giulietta. I defy anyone not to find their tomb scene deeply moving - down as much to their excellent performances as to Vaccaj's score." - Gramophone Magazine, July 2019.
