Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

The Barber of Seville, ENO London

This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.

Monteverdi: Il ritorno d’Ulisse in patria, Bostridge, Barbican London

The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.

English Touring Opera - Debussy, Massenet and Offenbach

English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).

“Nessun Dorma — The Puccini Album”

Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Far in the Heavens — Choral Music of Stephen Paulus

Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.



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):