Giacomo Rossini - Le Comte Ory
Rossini Opera Festival, Pesaro 2009
Paolo Carignani, Lluís Pasqual, Yijie Shi, Laura Polverelli, Lorenzo Regazzo, Roberto De Candia, María José Moreno, Natalia Gavrilan, Rinnat Moriah
Opus Arte - Blu-ray
There are two ways you can treat some of Rossini's more outrageous comedies. You can either play up the absurdity of the situations or you can attempt to make up for the silliness of the libretto by creating a distancing construct around it. I know which I would prefer, but in the case of this 2009 Rossini Opera Festival production, the director Lluís Pasqual unfortunately feels the need to impose a structure on the work that is neither meaningful nor sympathetic to the comedy. Fortunately, there is another way to get the most out of Le Comte Ory and that is to let some good singers loose on it. Despite the casting here not being as stellar as you might expect for such demanding roles, the Pesaro production at least works very well on that front.
It is very hard to take Le Comte Ory seriously, even though there is no reason why you should. Written in the composer's French period, much of the reasoning for the creation of the work was to find an alternative use for the music of Il Viaggio a Reims. Written for a specific event, the coronation of Charles X, it must have seemed a pity to let such good compositions (Rossini at his finest) go to waste, so the composer spun them together with some new music into the racy comedy of Le Comte Ory. The entertainment of the work relies primarily on that old staple of a licentious noble, in this case a Count who takes advantage of the susceptible and probably desperate women of the village while their husbands are away fighting in the crusades.
It's not a subject that is terribly elevated or even clever, nor are the means of the Count Ory's seductions all that credible - disguising himself as a hermit dispensing wise advice, or dressing up as a nun seeking shelter on a stormy night. It's hard to imagine anyone being fooled by such exploits unless they really want to play along with the game and be seduced, and it usually with such an idea that a diector will attempt to either find some credible underlying motivations or create a knowing distance between the drama and its presentation. Lluís Pasqual attempts to do all these things, but seems to forget that the work is actually supposed to be a comedy.
Evidently then, the 2009 Rossini Opera Festival production isn't set during the time of the Crusades but rather, for no apparent reason, takes place in the Grand Hotel Rossini during the Belle Epoque. Looking more like a set for La Traviata, the action of the opening scenes takes place amidst hanging velvet curtains and chandeliers, with the hermit dispensing his sage advice and sexual favours to the credulous women from atop an antique billiard table. The ultimate object of his licentious desires, the Countess Adèle, meanwhile mounts a nearby table across from him. It's hard to believe that the Count's own page, Isolier, wouldn't recognise his master in such a thin disguise (the trousers role moreover transformed here into a female character), but any semblance of disguises being convincing are dismissed when the Countess and her maid Ragone actually dress Ory up as a nun at the start of the second act.
According to the booklet that comes with the DVD/BD release, the director's concept is that it's an opera-within-an-opera (or a play-within-an-opera), the explanation for this is that the story of Le Comte Ory is being put on as a parlour game by a theatre group in order to explore their own erotic fantasies. You wouldn't know this otherwise, but even when you do know it, it still seems like a pointless conceit and scarcely any less ridiculous than the original comic story that it is attempting to make credible. What the Belle Epoque setting does however, perhaps inadvertently, is actually emphasise the elegance and sophistication of Rossini's brilliant compositional skills.
The score is sympathetically conducted in this respect by Paolo Carignani. Unsurprisingly, since it is mostly derived from Il Viaggio a Reims (a delightful work that was until relatively recently believed entirely lost), Le Comte Ory is a typically well-constructed piece, with entertaining numbers and a variety of characters who have arrangements to match and display their individual singing strengths. It all takes place moreover at a spirited pace with a musical style that is indeed sparkling with elegance, cleverness and wit. That much comes through, even if the stage direction isn't able to take advantage of it, or play to the strengths of work, which is in how it matches the singing performances to the comic situations.
Although they aren't given much support from the director, the singing nonetheless is very good. The Rossini Opera Festival doesn't seem to give the same care and attention in their casting for French Rossini as they do to the composer's Italian works, but the relatively inexperienced cast do perform rather well. Chinese tenor Yijie Shi - who can be seen in several other Pesaro productions - has the right kind of voice for high and lyrical Rossini roles like this and he meets all the challenges and demands that are required for Le Comte Ory. If you close your eyes, at times you could swear you're listening to Juan Diego Flórez, albeit not with the same force. Laura Polverelli is a fine Isolier and María José Moreno brings the necessary elegance and charm to her Comtesse Adèle, even when the stage concept seems contrived to work against her.
True, this cast are no match for the New York Metropolitan Opera's production with the stellar trio of Juan Diego Flórez, Joyce DiDonato and Diana Damrau, but who could possibly measure up to that level of presence, stature and vocal ability in a work like this? Ultimately however, since the actual performances are fine here, it's less a question of singing ability than whether the production as a whole gives the right kind of platform for those voices to shine. Bartlett Sher's production at the Met went for a similar play-within-a-play construction that didn't bring anything great out of the work, but it didn't detract either from the comic situations or the performances. The Pesaro Le Comte Ory also works well in spite of a production design that doesn't really help it, which is all the more to the credit of the singers and, undoubtedly, the strength of Rossini's writing.
The BD includes a 26-minute Making of made up of interviews and behind-the-scenes rehearsals. As usual the irrepressible Alberto Zedda, the artistic director of the Rossini Opera Festival, provides some insightful comments on the work and its place among Rossini's operas. Subtitles on the BD are in French, English, German, Spanish, Italian and Korean.
Giovanni Battista Pergolesi - La Salustia
Teatro G.B. Pergolesi, Jesi, 2011
Corrado Rovaris, Juliette Deschamps, Vittorio Prato, Serena Malfi, Laura Polverelli, Florin Cezar Ouata, Giacinta Nicotra, Maria Hinojosa Montenegro
Arthaus Musik
There are one or two aspects of Pergolesi's La Salustia that immediately mark it out as quite different from the previous rare opera works by the composer (Adriano in Siria, Il Prigionier Superbo and Il Flaminio) recently revived and subjected to new critical editions by the Fondazione Pergolesi-Spontini in Jesi. Most obviously, as the composer's first opera, written to a libretto that had been reworked from an earlier work (Alessando Severo), La Salustia (1732) fits more conventionally into the standard opera seria style than any of Pergolesi's later work in the dramma per musica category. It's interesting nonetheless to see how Pergolesi operates even within this more restrictive format, particularly when the singing performances presented here at this production in Jesi surpass the already exceptionally high standards already achieved on the earlier DVD/BD releases of his other works.
Even though it is set in ancient Rome, La Salustia doesn't really take advantage of the specific period and the setting (other than an interesting development in Act III where one of the main characters is thrown to the lions in the arena - and wins!), but rather uses it to present a fairly generic power struggle plot. What is interesting about the plot and conflict that develops in La Salustia however is that the rivalry and jealousy that exists here for the love of the Emperor Alessandro is between his wife, Salustia, and his mother Giulia. This leads then not so much to the usual long anguished arias of anger, jealousy and betrayal (although similar sentiments are indeed expressed, da capo style), but a rather more complicated state of affairs. Giulia isn't at all happy that her son's marriage has elevated Salustia to the throne, relegating her own power and influence, and it leads to a fierce rivalry between the wife and her mother-in-law that eventually builds up to a plot to murder Giulia.
It might not be the typical Metastian plot of rulers displaying wisdom and clemency and reuniting lovers who have been separated by cruel twists of fate or the whims of kings, but that doesn't mean that the plot of La Salustia is any less improbable in its dramatic developments. Giulia's plan to regain influence is simply to trick her son the Emperor into signing without reading a document that removes Salustia from the throne. Alessandro, not unexpectedly, is torn with remorse for what he has done, but far too weak to do anything about it except sing long arias of anguish. Salustia's father Marziano however is prepared to go further, and taking advantage of Giulia's attraction to him, he hatches a plot with Claudio, the Captain of the Guard, to poison her. Albina, who is in love with Claudio, overhears their plotting and warns Salustia, who - despite the enmity shown towards her - saves Giulia's life, and thereby condemns her own father to death. The outcome of his sentence to be thrown to the lions, as indicated earlier, isn't any more realistic than what has come before, but it does of course bring about the necessary happy ending for an ensemble finish.
There may be plenty of occasion then for the requisite interchangeable and largely indistinguishable opera seria number arias reflecting generic emotions of anguish and torment, and in order to move the plot forward, there is evidently a requirement for more recitative than we've seen so far in Pergolesi later operas, but the composer's approach here has nonetheless some interesting musical touches of its own. By and large, La Salustia is quite Handelian in arrangement, with a few stormy Vivaldi-like flurries to reflect spiralling emotions. It might not have the elegance and attractiveness of either of those composers (and the performance here, it has to be said, doesn't seem quite as polished as other Jesi productions), but by the same token, the musical writing isn't quite as conventional in its arrangements and orchestration. There are some interesting discordant sounds and effects introduced in particular in Giulia's Act I aria, 'Se tumida l'onda' ("When the tall wave threatens the shore") and in the Act II 'Odio di figlia altera', that reflect the nature of the character and associate them with weather conditions, but the primary expression in those arias and the strength of this particular work as a whole is in the writing for voices.
In that respect, La Salustia may be more reminiscent of the often extravagant singing demands of the typical opera seria work - and in marked contrast to the less elaborate and more cohesive ensemble approach of Pergolesi's later work - but his writing and expression through the voice is quite thrilling and invigorating nonetheless. As if recognising the importance of the voices used here and in the contrast between them, Jesi employ a countertenor for the first time (previously using female sopranos for the castrato roles in the other works) for Alessandro (although they retain a soprano for Claudio), and it really does give the work the necessary dynamic, particularly when there is such strong singing demanded of the soprano (Giulia), mezzo-soprano (Salustia) and baritone (Marziano) roles. (The accompanying booklet notes that the role of Marziano was revised from a castrato to a tenor for the first performance, and although the first version has been performed at Jesi in an alternative critical edition, it's the first performance edition that is presented in this 2011 production - albeit that the tenor and soprano roles (Marziano and Salustia) are sung by a baritone (Vittorio Prato) and a mezzo-soprano (Serena Malfi).
The contrast in voices works well however, the casting of the majority of these roles given to up-and coming young singers, and they are all most impressive. More than meeting the demands of the challenging arias written for each role, there's a purity of tone and clarity of diction from each of them and a refreshing lack of mannerism that allows for a wonderful sincerity of expression. If the improbable mechanics of the plot and the conventionality of much of the music don't always make as much of an impression as later Pergolesi work, the quality of the vocal writing and the expressiveness of the singing performances gives the characters considerably more credibility than might otherwise be the case. The static stage design and straightforward direction by Juliette Deschamps - the mechanics of the Teatro G.B. Pergolesi seemingly not really allowing for any elaborate scene changes - doesn't seem to have much to contribute to the success of the production, but despite a few odd and jarring touches (it's more 18th century than ancient Rome) it does actually work quite well through some effective lighting and a few bold gestures.
The staging and the lighting are well represented in High Definition on the Blu-ray release, the sound recording less so. The clarity and detail is all there in the singing and the orchestration, but there's considerable reverb and a harshness that lacks the warmth and roundness of tone on previous Pergolesi releases. Other than perhaps one instance in Act III where countertenor Florin Cezar Ouata's radio mic seems to pick up some interference, there are however no other real problems. The 3-hour opera requires a BD50 disc, and subtitles are provided in Italian, English, German, French, Spanish and Korean. Apart from trailers for the other Arthaus Pergolesi titles (Il Prigionier Superbo and Il Flaminio), there are no extra features on the disc itself and no synopsis provided, although the background to the work and a very brief outline of the plot are covered in an essay in the enclosed booklet.
Giovanni Battista Pergolesi - Il Flaminio
Teatro Valeria Moricone, Jesi, 2010
Ottavio Dantone, Accademia Bizantina, Michal Znaniecki, Juan Francisco Gatell, Laura Polverelli, Marina De Liso, Sonia Yoncheva, Serena Malfi, Laura Cherici, Vito Priante
Arthaus
So far we've had two excellent productions from the Fondazione Pergolesi Spontini at Jesi that have extended appreciation of Pergolesi's opera seria work - Adriano in Siria and Il Prigionier Superbo - and in the process shed a little light upon the practices of 18th century Neapolitan opera with their Intermezzo comedies. For anyone who has enjoyed the lighter side of Pergolesi's work seen in these shorter pieces, Il Flaminio is a real treat. A full length 3-act commedia per musica, first performed in 1735, it's every bit as delightful as the great Intermezzos seen so far - Livietta e Tracollo and La Serva Padrona - and, in its own way, quite sophisticated and just as revelatory as the composer's more serious works.
There is, it has to be said, nothing that appears to be exceptional about the plotting of Il Flaminio. The widow Giustina has been set on an engagement to the noble but rather frivolously-minded Polidoro, but has fallen instead for his friend Giulio, who she recognises as Flaminio, a Roman gentleman she once knew before she met her husband. Back then however, she despised Flaminio, which may account for why "Giulio" is reluctant to accept that her feelings might have changed in any way. To complicate matters - always essential in such a situation - Polidoro's sister Agata is in love with Giulio and cruelly rejects her intended Ferdinando, but her feelings are not reciprocated by Giulio. On the sidelines, watching and intervening in the situation - not disinterestedly, since the possibility of their union depends to some extent on a resolution of these issues - are Checca and Vastiano, the maidservant of Gustino and the manservant of Polidoro.
Il Flaminio therefore still adheres very much to the Metastasian baroque opera seria situation - one not dissimilar to the one played out in Pergolesi's Adriano in Siria - where various incompatible couples have to find their right arrangement over the course of the opera, usually on a wise ruler coming to his senses (it's a nobleman Polidoro here), but only after a great deal of emotional soul-searching and pouring one's heart out through anguished, repetitive arias. The difference here in Il Flaminio is that this time the situation is explored for its comic potential, playing the situation for laughs certainly and with a lightness of touch, but not to the exclusion of the finer sentiments that lie within it either. That in itself is a significant development and influential in terms of the impact the Neapolitan style would have on opera buffa, but in Pergolesi's hands, one can also see a significant development of the writing and the scoring that goes way beyond the Baroque conventions.
The comic elements may be partly based around class issues, but the comedy in Il Flaminio proves to be rather more sophisticated than La Serva Padrona (as important to the history of opera as that work remains). Much of the humour is tied to the use of Neapolitan dialect and customs on the part of the lower classes, with obscure satirical references and musical allusions to popular songs of the time, to puppet shows and commedia dell' arte traditions that are impossible to translate or even fully appreciate. One can at least - having been in a position to see similar situations played out in the Baroque works of Handel and Vivaldi - appreciate how the complex relationship drama is satirised by the comedy. "I forsee suffering and misery for me", Guistina observes at the start of Act I - "Why worry?" responds her maidservant Checca, "Everything will turn out fine in the end".
There's only so much humour to be derived from this really though, particularly over a three-hour opera. To be honest, I lost interest in following the plot by the middle of the second act, but thankfully there's more to Il Flaminio than mild comedy and satire, and Pergolesi's beautiful music makes such light work of the situations and is filled with such playful invention and sophistication that there is never a dull moment. It's way ahead of its time, Pergolesi's handling of material we are familiar with from Handel and Vivaldi only highlighting just how much more musically advanced and innovative the composer really is above his contemporaries. It's not just the stormy accompaniment to Giulio's vigorous Act I aria 'Scuote e fa guerra' ("May shake and make war the ruthless wind"), or even that Pergolesi imitates the mewling of a cat in Bastiano's Act II aria - delightful though those kinds of little touches are - but there's such a lightness and brilliance of sophistication throughout Il Flaminio that it could easily pass for a Haydn or an early Mozart opera. It really is extraordinary.
It's even more delightful then that we have Ottavio Dantone and the Accademia Bizantina to bring out the sparkling brilliance and delicate beauty of music that is so full of life, vigour, wit and sensitivity. The wonderful set design moreover places the orchestra behind the performers on the stage in a venue that has been reconfigured with extensions that take balcony scenes down the sides of the hall to make it even more intimate and involving. It looks great and it evidently works marvellously since the singing and acting performances are also highly engaging and entertaining. Although there are pieces written to give each of the singers the opportunity to shine, Il Flaminio is very much an ensemble piece that gives equal value to almost all the roles and - as with each of the Jesi Pergolesi releases so far - the casting and singing is perfect. Recognising that the strength of the opera is in its ensemble arrangement, the production also attempts to keep all the main figures around on the stage - along with the orchestra - even when they are not called upon to sing.
As with the previous Pergolesi releases - from both Opus Arte and Arthaus - the recording quality is superb, with a beautiful High Definition image and remarkably good sound quality. Really, it's hard to imagine how you could improve on the performance or presentation of this rare work, a work that fully merits such a wonderful interpretation. There are no extra features on this release however, which is a little disappointing, but there is some useful background information on the work in the booklet that comes with the release. The Blu-ray is all region compatible with subtitles in English, German, French, Italian, Spanish and Korean.
