When Donizetti’s comedy, updated to the mid-20th century by the Uruguayan-born director Mario Gas, was mounted at Barcelona’s magnificent Liceu opera house in 2005, Opera News wrote that: “The absolute hit of the production was … Rolando Villazón, a commanding, vulnerable and hilarious Nemorino. His stage presence dominated every scene he was in …[and] his lovable innocence was a joy to behold. Villazón’s perfect technique and creamy, malleable voice conquered the audience … His athletic and expressive body language–midway between Cantinflas and Mr. Bean–fits this role and this production perfectly.” The Mexican tenor, making his debut at the Liceu, was called upon the encore the opera’s most famous aria, the plaintive ‘Una furtiva lagrima’.

Parma’s Boccanegra is Leo Nucci…The handsome voice, which once seemed on the light side for Verdi’s heavier, darker title roles, now has the apposite color and weight, and it remains surprisingly firm and focused…he’s honest, commanding and deeply moving. Honest commitment distinguishes his colleagues, too. Tamar Iveri…[has] a lovely, full lyric voice with a welcome authority at bottom, steered by fine musicianship…and a lively, sympathetic temperament and presence. Francesco Meli…sings handsomely and looks properly romantic…Roberto Scandiuzzi…makes a fine, idiomatic Fiesco; and Simone Piazzola…gives promise of a major-league Boccanegra to come. Daniele Callegari, in Parma’s pit, lets the score unfold naturally and compellingly. (Opera News)

I Lombardi alla prima crociata was Verdi’s fourth opera and received its first performance at La Scala, Milan, in February 1843. The grandiloquent subject matter is fleshed-out with broad-brushed musical and dramatic effects and lavish choral scenes created a correspondingly impressive impact. A great success in Milan, it spread to the rest of Europe within a matter of only a few years.