Wexford Festival Opera, 2024
Francesco Cilluffo, Stefano Ricci, Lavinia Bini, Benoit Joseph Meier, Ioana Constantin Pipelea, Gillen Munguia, Matteo Mancini, Rory Musgrave, Andrew Morstein, Peter McCamley, Giorgio Caoduro, Mariano Orozco
O'Reilly Theatre, National Opera House, Wexford - 23rd October 2024
There is always a risk that Pietro Mascagni's Le maschere - like many operas that operate in a metatheatrical style - can appear to be too clever for its own good. Le maschere's conceit is not so much the 'Theatre within Theatre' theme of this year's Wexford Festival Opera however as in how it plays on traditional commedia dell'arte archetypes. Those closer to that theatrical tradition that was prominent from 16th to 18th century tend to fare rather better - Mozart's Le nozze di Figaro and Rossini's Il barbiere di Siviglia, for example. Later works - Prokofiev's The Love for Three Oranges and Strauss's Ariadne auf Naxos - tend to be a little more self-referential and need to be handled more carefully, with perhaps a little bit of tongue-in-cheek. The 2024 Wexford production of Le maschere attempts to minimise the danger of the opera running away with itself by taking a more simplied approach that humanises by unmasking the commedia dell'arte figures.
Simplify maybe, but in doing so it also risks missing the point of the work, not really fulfilling the intentions of the composer or indeed the premise of Wexford's Theatre within Theatre theme. A spoken introduction attempts to introduce the commedia characters and their associated behaviour for an audience who might not be familiar with the tradition, before they remove their costumes and become 'real' people. It feels a little unnecessary, but it is one way of keeping in with the intentions of Mascagni and his librettist Luigi Illica, suggesting that we all wear the masks of roles we are expected to fulfil, and they have to be removed to find the truth and overcome the challenges that those roles - whether social, class, familial or otherwise - can end up boxing us in and come to define us.
If the choice is made to abandon the commedia dell'arte imposition of masks as a way of presenting the opera on a modern stage, the director and designer Stefano Ricci finds another amusing and suitable way of showing these 'masks' that we sometimes wear, masks that are imposed rather than those we would consciously chose for ourselves. Here, set in a Wellness Centre which doesn't overly impose on the drama, they initially even wear facial masks which works well and even suggests cleansing and detoxification. It has to be said however while there is some amount of convention in the use of a 'magic powder' to rectify the troubled situation that they characters find themselves in, Mascagni's score works its own magic to intoxicate the listener into acceptance of the familiar devices of the plotting.
Because essentially it's the age-old plot of an arranged marriage being proposed that is going to break up one or more couples, preventing them from choosing to be with the one they love. Rosaura, the daughter of Pantaleone, the owner/manager of the wellness spa here, is in love with Florindo but discovers that her father intends to marry her to Captain Spavento, a horrible military man full of his own power and proud of his killing prowess. Her maid/friend Colombina who has intentions towards Brighella, the 'medicine man' of the wellness centre, is also threatened by the advances of Spavento's sidekick Arlecchino. Spavento has no time to waste and hasty arrangements are made for a wedding the very same evening. Brighella comes up with the idea of using a 'magic powder' that will reveal truths 'in vino veritas'-like that will upset the wedding plans, but unfortunately all of them end up imbibing the powder as well.
For all its conventionality, Mascagni clearly had tremendous fun with the plot of Le maschere, the ability to play with commedia dell'arte characters and the resultant chaos that ensues between they roles they play and the truth of their inner selves when unmasked. What is also evident is the composer's desire to engage with the essential Italian character that is unique to Italian opera. It's a character that he of course more famously expressed in his hugely successful Cavalleria Rusticana - now the only work of his that still remains popular and just as powerful today - and there are signs of the epic greatness of that work in Le maschere, but somehow the subject doesn't seem to merit the passion poured into it. There is a beautiful heartfelt duet between Rosaura and Colombina, for example, that expresses the women's dilemma, but it doesn't have the tragic sense of life or death behind it.
Mascagni also introduces lovely instrumental passages and intermezzos which might lack dramatic intensity and meaning, but are at least imaginatively staged here with dancers and comic routines. There is even an amusing homage to Rossini in Tartaglia, who stutters and stammers, but after imbibing some of the magic powder becomes a rapid fire fluid tongue-twisting Rossinian singer. If Mascagni's ambitions get a little bit above themselves with a grand celebratory conclusion that proclaims the commedia dell'arte as the great Italian art that brought the world laughter and tears, that claim could perhaps have some validity for opera, which has incorporated so many of the elements of commedia. Mascagni, less influential now, but at the time more popular than Puccini, certainly still has an important part to play in bringing that to the world.
With wonderful singing and invigorating music it's like the opera itself wears a mask, imposing heartfelt sentiments upon a slight plot. In simplifying and modifying the opera's ambitions, Stefano Ricci redirects it towards the necessary complexity of human interaction and sensitivity that Mascagni pours into the score, the production design itself another mask that serves to present another version of the truth, bringing out those human elements of warmth, love and humour. Whether the opera merits it, it's a delight nonetheless, further enhanced by some superb singing from Lavinia Bini as Rosaura and Ioana Constantin Pipelea as Colombina. The quality of the singing was fine all around and the performances wonderful, but it seemed harder for the others to break out of their character's defined and caricatured roles and express a deeper human side.
Le maschere is about masks coming off as well as being put on and the Wexford production successfully dressed this one up beautifully, striking a wonderful balance that brought the very best out of the work. The music itself is ravishing and conductor Francesco Cilluffo, as ever, succeeded in arranging, balancing and managing the sometimes overpowering sentiments of the music to match the wonderfully staged drama. Other than using a framing device, I'm not sure the opera fully lived up to the intent of the 'Theatre within Theatre' theme, but the production matched the spirit of the work in other ways and perhaps thereby may even have redeemed some of its weaknesses.
External links: Wexford Festival Opera, RTE Streaming on YouTube
