Sun 24 Mar 2013
Gioachino Rossini - L’Italiana in Algeri
Opéra Royal de Wallonie, Liège, 2013 | Bruno Campanella, Emilio Sagi, Enkelejda Shkosa, Carlo Lepore, Daniele Zanfardino, Mario Cassi, Liesbeth Devos, Julie Bailly, Laurent Kubla | Grand Théâtre de Liège, 9 February 2013 - ARTE Live Web
The Opéra Royal de Wallonie in Liège have a good track record with Rossini and bel canto work, particularly on works that have a more comic edge. One of Rossini’s big melodramas or opera seria works would present a greater challenge and require some big guns to do it justice, but as they demonstrated most recently with the little known early Rossini opera L’Equivoco Stravagante, with a little bit of resource and imagination, there can be considerable colour and entertainment to be drawn out of the lighter Rossini dramma giocoso works. The requirements for L’Italiana in Algeri lie somewhere in-between. It’s a popular comedy, but like Il Barbiere di Sevilla it also requires a good balance between strong singers, comic timing and a sense of style or panache to really make it work. Liège do pretty well on all fronts in their latest production.
Director Emilio Sagi puts the emphasis of the production on style, and there’s good reason for that. Much of the comedy of L’Italiana in Algeri (An Italian Girl in Algiers) relies upon the premise of the exoticism and glamour of its Eastern setting, in the palace of Mustafà, the Bey of Algiers, with his seraglio of wives, slaves and eunuchs. The Bey however is tired of his wife Elvira and wants Haly, the captain of his corsairs, to procure an Italian wife for him, so the opera also has to present the idea of Italian style and women as being just as exotically attractive as a North African harem. You can of course make even that idea alone funny - and there’s lots of spaghetti eating here to play with that in the Pappataci scene - but the idea of Italian exoticism works best if you set it, as Emilio Sagi does here, in the glamorous age of the Dolce Vita of the 1960s.
The production achieves this impressively with the simplest of means. Enrique Bordolini’s sets provide a few pointed Byzantine arches to give a flavour of an Eastern palace, working with the colouration of Eduardo Bravo’s lighting and Renata Schussheim’s costume designs to make this a most attractive production that works perfectly with the playful tone of Rossini’s writing for L’Italiana in Algeri. There’s solid work from Bruno Campanella in the pit that is similarly well-attuned to the content. This is consequently a sophisticated Rossini production that emphasises how well the composer could bring his musical resources, his sense of structure and timing to bear to play out a series of entertaining and sometimes silly comic situations. It is not as raucously funny as it might be - some of the recitative is cut, reducing the effectiveness of the situation between Lindoro and Elvira - but the direction and the tone established in Sagi’s production is consistent and entertaining.
With only a few minor reservations, the casting is also excellent and certainly as good as it ought to be for this opera. Liège get the right balance of freshness from their regular Italian opera regulars for the secondary roles (solid performances from Julie Bailly, Liesbeth Devos and Laurent Kubla as Zulma, Elvira and Haly) and combine it with experienced singers in the more challenging main roles. Not so much Daniele Zanfardino - last seen in Liège’s production of Rossini’s L’Equivoco Stravagante - as Lindoro, but he has the right timbre of voice for a Rossini tenor, if not quite the strength or range. That’s not so much of an issue here, and he copes well with the demands of the role.
Much more critical to establishing the tone of the dramma giocoso is the range and the interplay between Isabella and the Bey, and the Royal Opéra de Wallonie had two excellent singers in these roles. Carlo Lepore’s singing is beautifully grave and musical, his bass working well alongside the other singers, round out in the duets and ensembles. In acting terms, his handling of Mustafa’s comic potential was also perfect, suitably commanding, faintly ridiculous and comically lecherous. He needs however a feisty Isabella to be a bit more spirited than the comparatively weak Elvira that he wants to get rid of, but she also has to be demanding enough to knock him into place, and that’s exactly what you got with Albanian mezzo-soprano Enkelejda Shkosa.
That’s about all you want from L’Italiana in Algeri - a sense of style, a little bit of exoticism, a bit of unstrained comedy and some good singing that doesn’t stand out or draw attention just for the sake of ornamentation. The latest Liège production to be broadcast via Internet Streaming, L’Italiana in Algeri can be enjoyed for free for the next few months on the ARTE Live Web site.