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Wolf-Ferrari, I Quattro Rusteghi:  Soloists, Orchestra National du Capitole. Conductor: Daniele Callegari. Théâtre du Capitole de Toulouse. 29.2.2008 (JMI)

Production from Zurich Opera.

Direction: Grischa Asagaroff.
Sets and Costumes: Luigi Perego.
Lighting: Hans-Rudolf Kunz

Cast:
Lunardo: Roberto Scandiuzzi.
Lucieta: Diletta Rizzo-Marin.
Margarita: Marta Moretto.
Simon: Carlos Chausson.
Marina: Chiara Angella.
Maurizio: Paolo Rumetz.
Filipeto: Luigi Petroni.
Canciano: Giuseppe Scorsin.
Felice: Daniela Mazzucato.
Ricardo: Franceso Piccoli.

It was rather a surprise to find Wolf-Ferrari's I Quattro Rusteghi or 'The School for Fathers' at the Toulouse Capitole , since it is hardly performed anywhere outside of  Venice and Zurich. Best known for Il Segreto de Susanna this Italian-German composer has almost disappeared from opera houses everywhere, surely due the lack of interest of his subject matter.  Of the rest of his operatic production, Sly  had some years of popularity with Carreras and Domingo, whereas Il  Campiello continues to be a true rarity even in Italy, and La Vedova Scaltra is performed very seldom. I Quattro Rusteghi is mainly performed in Venice, and it is not difficult to understand this, considering the Venetian atmosphere of the piece. Wolf Ferrari was born in Venice and was a great admirer of another Venetian,  the writer Carlo Goldoni : in fact, this opera is based on Goldoni’s work. But the action also takes place in Venice is based on Venetian characters and has a  libretto written in  the Veneto dialect. It's an  opera buffa by  a good composer, whose musical interest improves as the work progresses, being lesser engaging in the first act. There are some very interesting moments, generally in form of ensembles, particularly the amusing duet between Simon and Lunardo, their trio with Maurizio, the quartet of women – faintly  reminiscent of Verdi’s Falstaff,  - and the big ensemble that closes the second act with all ten soloists on stage. There is only one aria, no better an arioso, sang by tenor, which it has  been recorded many times by  lighter tenor voices. So this is interesting revival of an entertaining opera, although not too brilliantly  served in vocal terms on this occasion.

The Capitole offers a  production by  Grischa Asagaroff Zurich Opera which is not terribly interesting and  gives the impression that it is rather old. It consists of a simple set with a revolving central element, always showing a view of Venice and its canals  and finishing the opera with a new Venetian  with a gondola for the newly betrothed young couple. The fact that the action takes place during Carnival could have been better developed by the director, particularly with brighter costumes. This is an opera made up of ensembles and requires an exceptional director, as well very good actors on stage. Asagaroff is not particularly outstanding in managing all this , although he does meet  the objective of entertaining the audience.

It is rather difficult for me to judge Daniele Callegari's conducting,  as I don't know this opera very well. Considering the difficulties to putting it all together in the first place however it did seem that he conducted with a firm hand and there were no problems of coordination between stage and pit. As far as his reading went I had the feeling that he needed more lightness at some points and The Orchestra du Capitole played very well, although not reaching quite the same quality as in The Queen of Spades a few weeks ago.

The most important character in the opera is Lunardo, the rich and rude Venetian antique dealer, who wants to marry off his daughter without caring what she thinks. This role was interpreted by Roberto Scandiuzzi ( born himself in the Veneto region) and  is a part for a singing actor. Scandiuzzi bring to it  very adequate comic skills and is always powerful in vocal terms, but he does give the impression that the role needs a more flexible voice than his.

Scandiuzzi's daughter in the work is Lucieta and was performed by  his daughter in real life, the young (23 years) Diletta Rizzo-Marin, who replaced the promised Alessandra Marianelli at short notice.  She was a good interpreter on stage, but has  a small soubrette voice. It is surprising that she sang Sonnambula’s Amina in Santander last summer, because she is better suited as Lisa.

The second of the Rusteghi  (sometimes 'Curmudgeons ' in English. Ed ) was Simon, Lunardo's best friend and interpreted by Carlos Chausson, who was  perfectly cast in this buffo character. He is one of the best artists today in this kind of repertoire. The third Curmudgeon is  Maurizio, the father of Lucieta’s fiancé. He was palyed by Paolo Rumetz, who replaced the veteran Luigi Roni but was  not a very convincing singer. Giuseppe Scorsin was the fourth,  Canciano,  and he too had  little vocal interest with a voice of sparse quality.

The quartet of women was completed by three veterans, good actresses all of them but sadly clearly in vocal decline. Best among them was the fireproof Daniela Mazzucato as Felice. She is a genuine institution in the world of operetta,  a great actress and still fair as a singer, although her voice has lost it former brightness. Mezzo- soprano Marta Moretto was Margarita, Lunardo’s second wife who also sang reasonably well but the fourth woman, Marina, was the subject  of  yet another  cancellation, in this case  by  Cinzia  De Mola. She was replaced by Chiara Angella, also in poor voice.

The two tenorino parts were Filipeto, interpreted by Luigi Petroni  without terribly much interest, and Conde Ricardo, sung by  Francesco Piccoli, who exhibited one of the smallest voices I have listened to for many years. The theatre was full and little by little  the audience  showed its amusement  giving the artists  warm reward by the end. Scandiuzzi, Chausson and Mazzucato came off best.

José M Irurzun

Pictures © Patrice Nin

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