IL TURCO IN ITALIA

 Hans Tashjian and Mattia Venni

Fun and frivolity ruled the evening as Maestro Will Crutchfield brought the all-too-brief Teatro Nuovo season to a stunning close with an effervescent production of an opera that we might otherwise never have seen. We heard the title and wrongly assumed that this opera would be Rossini's send up of his own L'Italiana in Algeri. Far from it. As a matter of fact, the unfortunate title may have contributed to the opera's lukewarm reception at La Scala and its fading from the canon.  Nonetheless, it was a stunning freshman work by a 22-year-old Rossini who had already enjoyed a number of successes!

As Mo. Crutchfield pointed out in his pre-performance lecture, Rossini's works are marked by symmetry of form and an architecture of proportion, as well as by a rather cold-eyed and cynical view of human nature. They are also marked by bubbly melodies with impressive embellishment of the vocal lines. It is a given that one leaves humming the melodies although maybe not with the fioriture!  If he cribs from his other operas and one is momentarily transported to a different Rossini opera, you will not hear us complain.

Crutchfields' notes in the program are always instructive but never vain attempts at justifying a director's arrogant "interpretation". The works are allowed to speak for themselves and need no justification. If you might have missed some parallels between librettist Felice Romani's manipulative poet Prosdocimo. (Hans Tashjian) and that of DaPonte's Don Alfonso in Mozart's Cosi fan tutte, Maestro prevented that from happening. This is what we want to read or to hear in a lecture.

However, none of this information could be considered necessary to the enjoyment of this piece of musical fluff and our pleasure was echoed by the generous applause and standing ovation it received.

The dramatic device which sets it apart is the use of a character representing the librettist who directs the action of the characters onstage and also addresses the audience directly, a kind of "meta" situation.  The story he is directing involves a very flirtatious wife named Donna Fiorilla (Kresley Figueroa) married to an older wealthy man named Don Geronia (Mattia Venni). She has a "side piece" named Don Narciso (Max Alexander Cook) and she uses her seductive wiles on a visiting Turkish prince named Selim (Vincent Graña) driving her husband into fits of despair and hilarious helplessness. Meanwhile... Selim is being pursued by a former slave named Zaida (Sabatina Mauro) who has joined a ban of gypsies (thereby providing a chorus).  Are you laughing yet?

Of course it is silly but there is room in the world of comedy for just this kind of silliness especially when the delicious music amplifies it. The singing was superb all around and there was not a weak link in the chain of performance. Ms. Figueroa was particularly engaging and sufficiently beautiful and sexy to be convincing in the role. Mr. Venni's physical comedy was over the top. Mr. Tashjian's portrait of a kindly, creative, and inventive storyteller pulled it all together. Let us not fail to mention David Freides whom we heard the preceding night at the pre-performance recital in which his vocal gifts shone like a beacon. His role in this opera might have been small (Albazar, a Turkish friend of Selim and Zaida) but he acquitted himself nobly in his 2nd act aria.

As was the case the prior evening, the projected slides of Adam J. Thompson served admirably, representing the Naples waterfront and Don Geronio's lavish home.  We never missed the costuming because the (uncredited) direction was so astute. The story just swept us along on a wave of melody.

We were further impressed by Elisa Citterio who served as Capo d'Orchestra and also Primo Violino, excelling as both. Maestro al Cembalo was Derrick Goff and, as usual, Mo. Crutchfield was Maetro del Coro.

Let us not fail to mention the Pre-opera Serenade devoted to music by the legendary Garcia family. Our favorite piece was a trio by Manuel Garcia--"Senti, che ognun ti chiama" performed a cappella by soprano Brittany Rose Weinstock, tenor Justin E. Bell, and baritone Jason Augustus Rober.

AFter two satisfying evenings spent with Teatro Nuovo, we can say without reservation that they are the jewel in Manhattan's opera crown. Would that they would produce many more operas during the year! They might rescue our "small town" from its opera doldrums.

© meche kroop

JUST ONE HOUR

 Maestro Will Crutchfield and Mattia Venni

We are amazed, Dear Reader, by how much education and entertainment can be packed into a mere hour.  Entertainment and education are among our most prized values and leaving an event feeling fulfilled on both counts is more than we could hope for. Responsible for the education was Maestro Will Crutchfield whose standing-room-only lectures, preceding the July performances of Teatro Nuovo, have immeasurably added to our appreciation of the beloved Bel Canto repertory; responsible for the entertainment was basso Mattia Venni whose performances of Italian art songs, arias, and 20th century canzone were delivered with all the heart and soul of a native born Italian.

We were first introduced to Mr. Mattia less than two years ago when he starred in a frothy bel canto comedy produced by Teatro Nuovo. Here is what we wrote: "One could not have asked for a better Crispino than bass-baritone Mattia Venni whose comedic chops were matched by some superb singing. Whether legato or staccato, whether solo or in duet or trio, his sturdy but flexible vocal production was a standout. Rapid patter presented no problems. We would welcome the opportunity to hear him again."

And so, Dear Reader, this wish was granted last night at a private recital at the Instituto Italiano Cultura. The recital gave the audience samples of Mr. Mattia's prodigious gifts as he performed a work from the Baroque period, known to every beginning singer but rarely performed by a seasoned artist--Caldara's "Come raggio di sol". It was brought to life by means of a resonant bass instrument with a minimum of gesture.

Not to worry because the expressive gestures that we love were on full display in subsequent arias, bringing each character to vivid life (as we noted in his portrayal of Crispino described above). Dulcamara's sales pitch from Donizetti's L'Elisir d'Amore was a masterpiece of characterization; this Dulcamara was a hustler but a very likable one and just persuasive enough to hoodwink the uneducated and gullible residents of the towns in his territory. The patter was performed with crispness and clarity.

From Bellini's La Sonnambula, Mr. Mattis switched gears, giving us an elegant Count Rodolfo, reminiscing about his youth in "Vi ravviso, o luoghi ameni". We admired the artist's facility with Bellini's long legato lines, the resonance in his lower register, and the color of nostalgia.

Following that brief sample of bel canto arias, Mr. Mattia treated the audience to a trio of art songs dating to about the turn of the 20th century. The familiar "L'ultima canzone" imbued us with the sensation of heartbreak as the lovelorn poet's words were set by Tosti in alternating verses given different coloration by the artist.

The other two songs were previously unknown to us. Luigi Denza's passionate "Occhi di fata" showed off the artist's beautiful pianissimo in the upper register.   Renato Brogi's "Visione veneziana", a melancholic barcarolle, was notable for its tragic minor mode that tore at the heartstrings.

The program ended with some accessible "popular" song of the same period which seemed to us just as artistic as the "art songs", reminding us of the concerts programmed by Steven Blier for his New York Festival of Song. What makes a song "art" seems largely up to who performs it. We have heard operatic arias sung with amplification by pop stars  and, well, they were not "art", whereas a popular song sung by a great voice is art.

We loved the simplicity of melody and sentiment in Ernesto de Curtis' "Non ti scordar di me" and Bixio's "Mamma".  The encore was another fine choice for this artist. From Rodgers and Hammerstein's mid 20th century Broadway musical South Pacific, we heard the romantic "Some Enchanted Evening" sung by the French expatriate planter Emile de Beque. That it was sung with a charming Italian accent was just fine with us!

As far as the educational aspect of this all-too-brief recital, Maestro Will Crutchfield, whose consummate artistry at the piano added so much to the experience, provided fascinating information about each number and also offered some reflections on his Teatro Nuovo, now celebrating seven years of authentic productions from the Bel Canto period,  intensive vocal training to talented young singers, and audience enlightenment as well. We are always thrilled to find individuals and companies whose goals and performance practices resonate with us.

© meche kroop