Gioachino Rossini - La Gazza Ladra
Rossini Opera Festival, Pesaro 2007
Lü Jia, Damiano Michieletto, Mariola Cantarero, Dmitry Korchak, Alex Esposito, Michele Pertusi, Paolo Bordogna, Kleopatra Papatheologou, Manuela Custer, Stefan Cifolelli, Cosmo Panozzo, Vittorio Prato, Matteo Ferrara
There’s an air of familiarity to Rossini’s La Gazza Ladra (The Thieving Magpie), and it’s not just the famous overture (reputedly dashed off the evening before the first performance) that is second in popularity only to the composer’s overture to William Tell, nor in this case is it anything to do with the composer’s habit of reusing his music for other compositions. What is familiar to the point of predictability in La Gazza Ladra (written in 1817 between La Cenerentola and Armida) is the manner in which its opera semiseria melodrama plotline plays out.
The plot of the opera is not dissimilar to other later and perhaps more obscure examples of that style – Halévy’s Clari, Donizetti’s Linda di Chamounix, even Bellini’s La Sonnambula isn’t far off either – featuring and a couple of young lovers from differing classes in an Alpine/provincial setting whose hopes are thwarted by the one set of parents, who wish for a more suitable marriage for their son than to the peasant daughter of humble tenant farmers. Usually the purity and innocence of young woman in question is also unjustly maligned (‘mad scene’ optional at this point), only for the stain on her character resolved and tragedy averted in time for a happy ending. All this is the cause of much romantic reflection, lamenting and rejoicing in high-flown arias employing extravagant coloratura and stratospheric high notes.
La Gazza Ladra adheres closely to this model, but what differentiates it from other lesser examples of the opera semiseria is the fact that – obviously – it’s by Rossini, and being Rossini, the music is always melodically thrilling and inventive. The hook in this particular opera is of course that thieving magpie theme that flits through the opera musically, as well as the recognition of it as a playful dramatic theme, a deus ex machina element that pops in now and again to move the plot along and prevent it from getting bogged down in melodramatic excess. It helps if a production recognises this fact and never takes itself too seriously, but it also helps if you have singers who are capable of meeting the vocal demands and. Fortunately this production of La Gazza Ladra from the 2007 Rossini Opera Festival in Pesaro mostly lives up to the invigorating tone of the work on both fronts.
A period staging won’t cut it in a modern context when the plot can be as stodgy and old-fashioned as this, even with Rossini’s music to enliven it. At the same time, it’s a mistake to get too clever, since the singers have enough on their plates with the extreme technical demands on their singing without being encumbered with elaborate acting and movements. Directed by Damiano Michieletto, this production – like most for this style of opera nowadays – goes for stylised colourful, minimalist, picture-book style imagery with no attempt at realism of locations, and theatrical costumes of no fixed period or style. There’s no grand concept either, though it does have a theme and some unusual touches – a grouping of all-purpose pipes that can be adapted to represent trees, pillars, cannons, prison bars, in the manner of Lepage’s Machine for the Met Ring – and there’s an acrobat dancer to play the part of the magpie, a playful touch that works quite well.
The singing is hit and miss, but by and large it’s a decent account of the opera. Mariola Cantarero is a fine Ninetta, with a lovely tone of voice that is more than capable of reaching all the notes and making them count. Dmitry Korchak has a nice tone of voice, but there’s little character in it and the demands of the Giannetto tenor role are a little beyond him. Alex Esposito is an excellent Fernando, his baritone not quite as strong as the role calls for, but he has a wonderful voice, sings well and, just as importantly, puts a great deal of character and feeling into the role of Ninetta’s conflicted father. Michele Pertusi plays Gottardo, the sleazy magistrate with the hots for the heroine – another convention of the genre and one that Pertusi, as a villainous bass, is well used to playing, and he plays up to the role reasonably well. The orchestra is conducted by Lü Jia give an excellent, lively and sympathetic account of the score, even if the detail of their work isn’t all that clear on this release.
For their first foray into High Definition, Dynamic’s upgrade of this 2007 production isn’t the greatest. Previously available on DVD, the Blu-ray is scarcely an improvement on the Standard Definition version in either video quality or sound. The quality itself isn’t bad, the image remaining colourful, but it’s soft and lacking in fine detail and there is mild movement blurring. I wouldn’t be surprised if this was an up-conversion of the same master used for the SD release. The audio, available in PCM 2.0, Dolby Digital 5.1 and DTS HD Master-Audio 5.1 is rather thin for the orchestration, but the singing is clear throughout. It should be noted however that all the singers are wearing microphones. The BD is also one of those that ‘loads’ and takes over your player, but I didn’t notice it causing any problems. Menus, pop-ups and subtitle selection all work fine. Region free, BD50, 1080i, subtitles in Italian, English, French, German and Spanish.