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SEEN AND HEARD UK OPERA REVIEW

Rossini,  Il Turco in Italia:  Soloists, Chorus and Orchestra of the Royal Opera House, Covent Garden/Maurizio Benini. 3.4.2010 (CC)

 


Selim - Ildebrando d’Arcangelo
Fiorilla - Aleksandra Kurzak
Prosdocimo - Thomas Allen
Zaida - Leah-Marian Jones
Don Geronio - Alessandro Corbelli
Albazar - Steven Bell
Don Narciso - Colin Lee



Production Picture © Clive Barda

This is the first revival of a production that was first seen at the Royal Opera House in 2005. Turco has parallels with Mozart’s Così, heard earlier in the season (January). In both operas, a wily older gentleman contrives to control the ongoing dramatic/comedic situation. In the Mozart, it was to make a point about fidelity; here, the poet Prosdocimo furnishes himself with material for his next play and ends by celebrating a “deeper” love that forgives “mistakes”. Fiorilla is the flighty girl whose affections blow whichever way the wind blows; Zaida, a gypsy girl, is separated from her fiance, Selim, a rich Turk, who in turn woos Fiorilla. The role of jealous husband is filled by Don Geronio (much older than Fiorilla). Don Narciso is a lover of Fiorilla, who arrives looking for her. Rivalry between Fiorilla and Zaida fuels the second act; Selim cannot choose between them. The scene is now set for high farce. At a ball, disguises lead to total confusion before a satisfactory solution to all is reached.

This is precisely the sort of plot that inspired Rossini to his finest. In turn, it appears that Maurizio Benini inspired the ROH orchestra to give their best, too. Rarely have I heard the orchestra sound so enthused. There were some ragged edges of ensemble between singers and orchestra on occasion, but one hopes that a single rehearsal after this performance will iron those out for the rest of the run. The overture was notable not only for the spring in its step but also for the superb (and long) cantabile horn solo. A harpsichord was used for the recitatives. Benini paces the drama impeccably, and his tempo changes of gear are unerringly placed.

Back in 2005 (this production’s last incarnation), it was Bartoli who stole the show. In her absence, the evening had a chance to be a more rounded experience. There are still some big names here, and it was two of them that really excelled. The moments when they were alone together on stage spoke of huge experience and great dramatic/comedic grasp. These two were Alessandro Corbelli (Geronio) and the much-loved Thomas Allen (Prosdocimo). Both have stage presence to spare, and the timing in their exchanges was faultless. Corbelli excels in marrying comic acting with a beautiful voice and sterling diction; Allen makes you hang on his every word and, indeed, gesture. His confidence is supremely impressive.

Aleksandra Kurzak was a superb Fiorilla, her opening “Non si dà follia maggiore” pure delight. She projected the idea of the flighty girl perfectly without dominating procedings. Her vocal command was equally impressive, her many runs and ornaments despatched with laudable ease.

Bass-baritone Ildebrando d’Arcangelo was a confident Selim, his “Bella Italia, alfin to miro” an absolute model of its kind. His vocal legato (on display particularly in the second act) was impeccable. South African tenor Colin Lee (Don Narciso) was light and agile of voice (the perfect combination for this role), although at times he could verge on the bleaty. American tenor Steven Ebel, a participant in the Jette Parker Young Artists Programme, as Albazar, was very pleasing of voice. Finally, Welsh mezzo Leah-Marian Jones (Zaida), superb and full-voiced as the spurned gypsy.

The production, by Patrice Caurier and Moshe Leiser, is slick and impressive. Set designs are by Christian Fenouillat. Panels of colour slide around the stage to facilitate scene changes; blue taffeta from above characterises the climactic ball. It is perfectly in keeping with the brightness of Rossini’s music and, indeed, the setting (Naples). The use of a real car and motorcycle certainly raises the eyebrows; and adds tot he fun of it all. This is Naples of the 1960’s, and of La Dolce vita (a direct influence).

This is a wonderfully entertaining night out that simultaneously reinforces Rossini’s genius via a carefully-picked cast and Maurizio Benini’s inspired conducting. It is a comedy of manners par excellence.

Please note that Turco will be broadcast on BBC Radio 3 on Saturday, May 15 at 6pm.

Colin Clarke

 

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