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
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