Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

Siegfried, Opera North

This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.

Götterdämmerung, Opera North

The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.

Le nozze di Figaro, Glyndebourne

Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.

OPERA TODAY ARCHIVES »

Reviews

Gioachino Rossini: Il Turco in Italia
20 Jul 2009

Rossini: Il Turco in Italia

If the economic downturn has canceled some opera lovers plans to attend any of the appealing European summer festivals, perhaps a trip online will find a DVD of a production from a recent year.

Gioachino Rossini: Il Turco in Italia

Selim: Marco Vinco; Fiorilla: Alessandra Marianelli; Geronio: Andrea Concetti; Narciso: Filippo Adami; Prosdocimo: Bruno Taddia; Zaida: Elena Belfiore; Albazar: Daniele Zanfardino. Prague Chamber Choir. Orchestra Haydn di Bolzano e Trento. Antonello Allemandi, conductor. Guido De Monticelli, stage director.

Naxos 2.110259 [DVD]

$26.99  Click to buy

Naxos, for example, just released an August 2007 production from the annual Rossini Opera Festival held every summer at the Teatro Rossini in Pesaro. A sort of companion piece to his more popular L’Italiana in Algeri, Il Turco in Italia shares no characters with its better-loved cousin. On the demerit side, it also shares neither L’Italiana’s memorable tunefulness nor relatively comprehensible plot. In Turco, the character of a poet almost serves to break “the fourth wall,” manipulating the other characters into providing the sort of romantic complications that inspire his art. Besides the visiting Turkish prince, a band of gypsies cavorts with the usual young lovers, and “all ends happily,” as the booklet synopsis states.

The booklet essay features too little about this opera in particular, focusing instead on a condensed biography of the composer. It is in the synopsis that Richard Lawrence identifies particular numbers apparently composed by someone other than Rossini, including the opera’s conclusion. Perhaps this particular piece did not elicit from Rossini his top-drawer inspiration, but the score never noticeably sags. A couple of seasons back Covent Garden had a hit with the opera, with a cast led by Cecilia Bartoli. Although mostly attractive and able, a lack of star-power in this Rossini Opera Festival staging mutes some of the piece’s intended charm. As the Turk, Marco Vinco has more voice (a mellow, solid bass) than personality. The roles of the young married couple at the center of the Poet’s amorous shenanigans are performed by Alessandra Marianelli, a pleasant enough voice, and Andrea Concetti, adequate but hardly distinctive. A more impressive tenor appears in the small role of Albazar. Here Daniele Zanfardina shines, especially in a very sweet second act aria. As might come as no surprise, the Poet character wears out his welcome fairly quickly, through no fault of the earnest efforts of Bruno Taddia.

The Teatro Rossini’s small stage is not exactly crowded with Paolo Bregni’s sets. A bare stone platform, perhaps resembling a wharf, serves for most of the action. A more elaborate setting for Donna Fiorella’s home provides the eye with some distraction. Santuzza Cali’s costumes are colorful if conventional. Guido De Monticelli, the director, keeps things moving, if without much inspiration.

Antonello Allemandi conducts an ensemble with the wonderful name of Orchestra Haydn di Bolzano e Trento. Naxos provides the musicians with crisp, clean sound for their energetic efforts.

Not an outstanding release, then, but a fine summer distraction, and at the Naxos price, much less damage to one’s pocketbook than a trip to Pesaro.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):