La Scala di
Seta comes in at number six in the Rossini oeuvre and
was staged when the composer was a mere twenty years of age.
Having parents who were musicians with contacts in the trade
was invaluable in setting the young Gioachino along the path
of success. His first opera was composed during his time as
a student at the Bologna Liceo Musicale that he had entered
at age fourteen. It was a commission by the tenor Domenico
Marbelli, a friend of his parents who, together with his two
daughters, formed the nucleus of an itinerant operatic group
of a type commonly found at that time. That work, Demetrio
e Polibio, was not staged until May 1812 by which time
five of Rossini’s other works had been, including the La
scala di seta one of the five farse he composed for the
Teatro San Moise in Venice. An excellent audio collection
of all the five farse, originally recorded by Claves, is now
available at bargain price from Brilliant (see review).
The Teatro San Moise in Venice was the smallest of the
three theatres regularly presenting opera in that city. The
audience expected new works and the impresario would commission
several each season guaranteeing at least three performances
each. The theatre was run on a shoestring and such farse required
little scenery or staging. Given that the San Moise had a
good roster of singers it was an ideal opportunity for Rossini
when another composer reneged on his contract. A family friend
pressed the young Gioachino’s case and he was offered the
opportunity to replace him. His La Cambiale di Matrimonio
with
its pace, energy and wit was well received. Rossini was only 19 and his career was off to a
cracking start. After work elsewhere Rossini presented L’Inganno
Felice at the San Moise in January 1812 and La Scala di Sieta four months later. It
is a scintillating piece with bright orchestral colours and
distinctive writing for the woodwind. The silken ladder of
the title is used nightly by Dorvil to join Giulia whom he
has secretly married. She is still living in the house of
Dormont, her father, who wishes her to marry Blansac who in
turn is loved by Lucilla, Giulia’s cousin. After misunderstandings
with her servant Giulia manoeuvres the situations to her satisfaction.
Despite the efforts
of Naxos and Opera Rara, there still remain a few gaps in
audio recordings of Rossini’s thirty-nine operas. In the first
twenty years of the LP the composer’s operatic works in the
catalogue could be counted on the fingers of one hand. With
the exception of Il Barbiere di Siviglia and a handful of
other operas the composer’s works were largely forgotten.
Expansion of theatre performances and recordings only really
came after the inception of the Pesaro Rossini Festival in
the late 1970s and the derivation of properly researched performing
editions by the scholars Philip Gossett and Claudio Scimone.
How very different the situation is now with many of his opera
seria as well as his comedies being performed, particularly
in his native Italy. A welcome consequence is the rapid expansion
of the Rossini discography on DVD. There are recordings from
La Scala, Milan, of La donna del lago (see review)
and two of his French Grand Opera (Guillaume Tell see
review,
and Moďse et Pharaon see review).
From Glyndebourne I have welcomed Ermione (see review)
and Le Comte Ory (see review).
There is also a recording of Maometta Seconda on the
way (Dynamic). Of course there have been a clutch of performances
of Il Barbiere and La Cenerentola to give the
collector/viewer plenty of choice of production and singers.
All of those listed are mature works including three of Rossini’s
last four compositions. They reflect the increasing importance
given to the composer’s works in the live theatre.
Apart from Il
Signor Bruschino, the last of the five farse Rossini composed
for the Teatro San Moise, and which is regularly performed
all round the world, I have to admit to surprise as well as
pleasure that such an early work as La Scala di Sieta has
joined the growing list of the composer’s works available
on DVD. My pleasure is extended further by the sets and costumes
of this production. They are such as Rossini himself might
recognise. The permanent set is the salon of Giulia. Furnished
and curtained with opulence it would be regarded in England
as late Georgian and perhaps in Italy as the style of the
first ottocento, the time of the composition of the work.
The room looks out onto a balcony from which the silken ladder
is lowered. Alessandro Corbelli sings the key role of the
servant Germano with firm tone, great vocal expression and
considerable histrionic skill. His facial expressions in the
duets with his mistress, particularly as he thinks he is being
propositioned rather than as accomplice, is a pleasure (Chs.
3 and 6). Regrettably Luciana Serra looks rather too old now
for the young wife, Giulia. Likewise her voice has lost the
flexibility of yesteryear. Nonetheless her acting, expression
and diction are plus points and her recit and aria are justifiably
applauded (Ch. 14). Serra’s voice contrasts well with the
nicely sung Lucilla of Jane Bunnell (Ch. 4) who also shapes
her own aria with vocal élan (Ch. 12). The poser Blansac,
who in the end is not fussed whichever girl he marries, is
elegantly acted by Alberto Rinaldi. He is another considerable
singer of yesteryear whose voice has lost some of the bloom
of his halcyon days but whose fine diction and suave acting
more than compensate. As the visiting husband Dorvil, David
Kuebler has a somewhat dry lyric tenor with a touch of edge.
He has to reach for the higher notes (Ch. 8) but his voice
is flexible. After Germano hides under the table and Lucilla
behind the fire screen, the dénouement comes with musical
wit and humour in a typical Rossini finale (Ch. 19). All is
well that ends well, the lights blow out and the curtain falls.
The
orchestral contribution, from the singing strings of the overture
(Ch. 2) through the recits and ensembles, is of the highest
order with Gianluigi Gelmetti in full flexible control on
the podium. A feel for this kind of early work, which does
have the odd flat moment, is essential, and the conducting
and playing of the orchestra are further plus points on this
very enjoyable DVD. The cast on the Brilliant CDs are among
the best in the series of five farse. Alessandro Corbelli
is outstanding as Germano and Teresa Ringholz is up to the
heroine’s task with agility and warm tone. Their duet is Rossini
coloratura singing of the highest order and is well matched
by the pleasing tone of the young Ramon Vargas, as Giulia’s
husband, singing without strain. I commend its purchase and
push my luck, and I hope your pleasure, by suggesting purchase
of the Brilliant CDs as the perfect complement at much the
same price for all five works.
Robert J Farr
BUY NOW
AmazonUK
AmazonUS
Germano, a servant, Alessandro Corbelli (bass); Giulia, Luciana Serra
(sop); Dorvil, Giulia’s husband, David Kuebler (ten); Blansac, Alberto
Rinaldi (bass-bar); Lucilla, Giulia’s cousin, Jane Bunnell (sop); Dormont,
Giulia’s father, David Griffith (ten)
[100:00]
