ROSSINI ROCKS SANTA FE

Patrick Carfizzi (Taddeo), Daniela Mack (Isabella), Scott Conner (Mustafa), Stacey Geyer (Elvira), Suzanne Hendrix (Zulma), Jack Swanson (Lindoro)...Photo by Ken Howard for Santa Fe Opera

It was difficult to tell who was having more fun at the Santa Fe Opera last night at a riotous performance of Rossini's 1813 laugh riot L'Italiana in Algeri. The cast sparkled with glee and the audience roared with laughter. The original production by Edward Hastings premiered in 2002; we were there and we remember best the part in which Isabella arrives in Algeria by bi-plane!

We doubt that Rossini could have foreseen the Wright Brothers' invention so we will assume that this production has been advanced from the 19th c. a full century into the future.  That a forceful female character was invented by Rossini in the early 19th c. is rather remarkable.  Her setting an example for the dependent and lovelorn Elvira has resonance for us in the 21st c.

The story concerns this independent Italian woman who has gone searching for her missing beloved Lindoro; he had been captured by pirates and enslaved by the lecherous and self-important Sultan Mustafa, a ridiculous character whose arrogance makes him easy to fool.

Isabelle is accompanied by Taddeo who adores her.  She adores him not.

Mustafa is trying to rid himself of his adoring wife Elvira who needs some good mentoring by Isabella.  Mustafa has a yen for an Italian woman and Isabella arrives at just the right moment.  The opera story involves her plotting to free all the Italian slaves as well as Lindoro. Thus the opera became catnip for the Italians--not only for its memorable melodic score but also for patriotic reasons.

The setting in Algeria, then a vassal state of the Ottoman Empire, reminds us of Europe's fascination with all things exotic at that time. Indeed, not too long before, Mozart wrote his Die Entführung aus dem Serail, the theme of which is not too different.

During the overture, tiny bi-planes were "flown" up and down the aisles of the theater. A somewhat larger bi-plane appeared on the set, and when it was time for Isabella and Taddeo to make their entrance, a much larger bi-plane appeared on the stage.

This masterstroke of creativity set the audience to laughing and the laughs wouldn't stop all night long. For our taste, Shawna Lucey's direction was excessive but the audience loved all the gyrations, wriggling, pelvic thrusting, wild gesticulations, and Broadway chorus-style dancing. There was one trick that Ms.Lucey missed.  When Isabella and Lindoro take off in a hot-air balloon at the conclusion of the opera, there was a basket but no balloon!

We did love the set design by Robert Innes Hopkins which was well lit by Duane Schuler. There was a flat playing space with palm trees on each side; the floor unfolded upward to reveal Mustafa's palace with its Moorish arches and pillars. It reminded us of those greeting cards that are cleverly constructed to reveal a cut-out when one opens them.

David C. Woolard's costume design was wild and colorful for the Algerian court and suitable for the Europeans in their own fashion. We particularly enjoyed the scene in which Isabella tears down one of the curtains, snatches up some random decorations, goes behind a screen, and emerges in a stylish form-fitting costume.

The singing was excellent all around; Rossini's melodies paired with the vowel-dominant Italian language give one a chance to appreciate a singer's gifts--something that doesn't happen for us in contemporary operas in English. The best part of the singing was the work done as an ensemble. The voices blended in happy harmony with each character singing a different vocal line and expressing different emotions.

Mezzo-soprano Daniela Mack made a spunky Isabella, using her physical and vocal assets to get three men to do her bidding, making each one believe that he was the object of her desire. Her delivery of "Cruda sorte" was excellent.

Tenor Jack Swanson made a fine handsome Lindoro, one for whom a woman might go out searching. He was particularly admirable in his duets. Today's audience seems to love "patter songs" as much as the audience of two centuries ago; Mr. Swanson's rapid fire delivery was impressive.

Bass Scott Conner played the part of Mustafa to the hilt. His booming voice and imposing figure perfectly set off the silly nature of his actions. It is wonderful to hear that much flexibility in a large low voice.

As his rejected wife Elvira, Apprentice Singer Stacey Geyer lent her splendid soprano to the creation of a character a normal man would be foolish to abandon; but we did say that Mustafa was foolish.

Mezzo-soprano Suzanne Hendrix was excellent in the role of Zulma, Elvira's slave and confidant. She too showed a lot of spunk.

Bass-baritone Patrick Carfizzi was just about perfect in the role of Taddeo and succeeded in earning our sympathy for his unrequited love. He gets passed off as Isabella's uncle and avoids impalement by agreeing to join the court.

Baritone Craig Verm was humorously menacing as Haly, Mustafa's chief pirate and scourge of the slaves.

The chorus of Apprentice Singers served as slaves and pirates and eunuchs. We always want to thank Susanne Sheston since the chorus is always so well schooled in perfect diction. And all of them seem effective in whatever parts they are asked to play.

Last, but definitely not least, Rossini's music is a constant delight. Corrado Rovaris' baton led the Santa Fe Orchestra in a highly spirited and swiftly moving reading of the score. From the piping of the piccolo to the "Rossini Crescendo", he made every moment count.

Another triumph for the Santa Fe Opera!

(c) meche kroop

LA DONNA SENZA LAGO

Joyce DiDonato--photo by Ken Howard

Here you see the lovely mezzo Joyce DiDonato standing on the moors of Scotland with a painted backdrop of the sky.  Wait!  She's standing on the stage set of La Donna del Lago at the Santa Fe Opera and the SKY is REAL, seen through the proscenium.  Rossini sure had a thing for the mezzo voice and Ms. DiDonato made the most out of the master's gorgeous bel canto vocal lines. Her embellishments were as accurate as any we've heard and her trill gave us a thrill.

Here she portrays Elena in Andrea Leone Tottola's adaptation of Sir Walter Scott's poem "The Lady of the Lake"--given an Italian flavor of course.  Elena is the daughter of one Duglas d'Angus (performed by deeply resonant bass Wayne Tigges) who was once the tutor of Giacomo V--King James of Scotland; he has, at the time of the opera, joined the Highland Clan, opposed to James' rule.  He has plans for Elena to wed Rodrigo di Dhu, the fierce chief of this clan.  Elena has other ideas; she is in love with the more gentle Malcolm Groeme, portrayed by mezzo Marianna Pizzolato, who sings like an angel and looks nothing like a man.  The love duet between the two of them was one of the evening's highlights.

Fortunately, Rodrigo gets killed in an uprising and the only other rival for her hand is the king himself who, disguised as Umberto, has met her, accepted her hospitality and fallen in love with her also.  (And who wouldn't fall in love with the beautiful and charming Ms. DiDonato!)  It is the king's respect for Elena that finally heals the rift so that peace in Scotland is achieved.

Lawrence Brownlee sang the role of the king and René Barbera the role of the ill-fated Rodrigo.  Both tenors have beautiful voices for the most part but both fell into the "tenor trap" of pushing their top notes instead of floating them, lending a harsh sound to otherwise fine bel canto singing.

We enjoyed seeing several apprentices onstage in smaller roles.  Soprano Lacy Sauter made a fine Albina--an interesting variation on the customary situation in which a mezzo is the confidante of the star soprano.  David Blalock and Joshua Dennis portrayed servants.

Maestro Stephen Lord conducted with high spirits and Paul Curran directed with a sure hand, making sense out of a confusing plot.   Costumes by Kevin Knight were appropriate to time and place; his sets were spare and lit by Duane Schuler to emphasize the gloom.  The chorus sang beautifully under the director of Susanne Sheston.

We understand that this production will appear at the Metropolitan Opera in a couple years.  How wonderful that New Yorkers will get to enjoy one of Rossini's lesser known operas.  Just don't expect the sunset!

© meche kroop

WOW-METTO

Luca Pisaroni

Patricia Bardon

Bruce Sledge

Leah Crocetto

The Santa Fe Opera has come through with another major success--a totally fulfilling production of Rossini's Maometto II.  There has been some extensive scholarship involved in bringing this masterpiece to the stage, in light of the plethora of extant  versions, but what matters to us in the audience are the musical and dramatic values.  And of those, not an element can be faulted.

As the titular hero, bass Luca Pisaroni gives us vocalism and dramatic energy in spades.  His Maometto is compelling--virile, dominant, vengeful and arrogant--a warrior who also has moments of tenderness, all of which is reflected in his multihued voice and total commitment to the role as he strides around the stage looking every bit the conqueror. Soprano Leah Crocetto has a coloratura of warmth and color; her fioritura is spot on.  We wind up caring deeply for her character Anna, the daughter of a Venetian commander Erisso, so perfectly portrayed by tenor Bruce Sledge.  Mr. Sledge's voice is strong but always pleasant to the ear and modulated to suit the mood of the scene.  Mezzo Patricia Bardon won our admiration in her vivacious and accurately sung portrayal of Calbo whom Erisso has chosen as husband for his daughter.

What Erriso and Calbo don't know, but are soon to learn, is that Anna has fallen in love with Maometto who has deceived her into believing that he is a Venetian nobleman.  Her anguish over this deception and its effect on her father and the risk to the Venetian efforts to hold onto the citadel at Negroponte make up the plot which sweeps us along in a great current of Rossinian melody, here so marvelous interpreted by Maestro Frederic Chaslin, leading the Santa Fe Opera Orchestra.  This opera is considered to be quite inventive for its time and also sadly neglected.  Most operagoers think of comedy when they think of Rossini, but he has created some valuable tragic operas, of which this is surely one of the most important. He has given some beautiful melodic lines to the woodwinds and, at times of battle, to the brasses.

We have been impressed all season with the performance of the chorus, comprising apprentices who have been whipped into shape by chorus master Susanne Sheston.  Peggy Hickey's choreography for the "Ninja warriors" was most interesting and added to the totality.  David Alden's direction was straightforward and kept the action moving along.

Last night's performance also had a contribution from Mother Nature.  Peals of thunder accompanied Ms. Crocetto and the astute lighting of Duane Schuler was abetted by bolts of lightning.  In the final act, as the libretto speaks of fleeing the approaching storm, a handful of audience member did exactly that.  We were happy to stay and revel in the gorgeous duets and trios as the cast of four worked through their complex issues with one another.  Once again we have duty trumping love.

The interesting set by  Jon Morrell comprises sliding curvilinear walls recreating the citadel and the church where Anna prays over her mother's ashes. Corinthian columns are in evidence, as is an engraving of a quote from Petrarch claiming that Venice is unique in its support of liberty and peace.  Maometto's tent is suggested by a roof supported by a spear.  Costumes also by Jon Morrell  are interesting with Maometto's warriors dressed in black like Ninja warriors.  Maometto's costume outshines everyone else's; he looks like Gengis Khan.  The women are in soft robes as might have been worn in Rossini's day.  There appears to be no definite commitment to the Byzantine period but it didn't seem to detract from the theme.

We hope to hear more Rossini in years to come!

(c) meche kroop