May 12, 2008
Rossini opera a delight to eyes and ears
The Washington National Opera presents the Rossini "L'Italiana in Algeri," conducted by Riccardo Frizza and directed by David Kneuss, with production set and costume design by Jean-Pierre Ponnelle, in the Kennedy Center Opera House, May 14.
The Washington National Opera's production of Rossini's comic opera "L'Italiana in Algeri" ("The Italian Girl in Algiers") is an absolute delight to the eyes and ears. Filled with exciting, pyrotechnic- quality arias and ensembles, "Algeri" needs the highest order of actor-singers to make this wildly entertaining opera brightly shine. And the National Opera has done just that, boasting a cast of internationally stellar reputation and ability.
Russian mezzo-soprano Olga Borodina, assuredly one of the world's most sought after singers, proved a natural fit for this Rossini romp. Although she's acclaimed for her heavier character roles, such as Carmen, Amneris, and Dalila, Borodina's turn as the witty heroine, Isabella, was certainly a total delight. Borodina's rich mezzo and superb technical abilities, added to her superb characterization, made her every moment and movement on stage captivating.
Also captivating was the acclaimed tenor Juan Diego Florez, who starred as Isabella's love interest, Lindoro. Frequently hailed as "the new Pavarotti," Florez simply wowed the audience in this, his National Opera debut. His tenor is robust, open, and pure and his technique impeccable, capable of scaling the heights and shaping the most amazing bel canto ornamentations. The seeming effortlessness with which he knocked off his high D's and, again, the seemingly naturalness with which he negotiated the intricate vocal passages was of the chill and thrill variety. Of course, his acting skills were equally dynamic and quite physical, his characterization of the love struck youth finding Florez bounding up and down stairs and doing balletic leaps and turns, all the while singing gloriously and never missing a beat to catch his breath. The fact that he's matinee idol handsome adds to his universal appeal.
Cast as the chauvinist Mustafa, who lusted after the Italian Isabella, is Russian bass Ildar Abdrazakov. The added fun was that he and Borodina are actually husband and wife, making the polar interaction of these two characters all the more engaging. Abdrazakov, who regaled us with his deep, resonant bass, was delightful as he strutted about, the virile master of his harem.
Up and coming Russian soprano Lyubov Petrova filled the bill as Elvira, the faithful wife who was, momentarily, tossed aside by Mustafa for Isabella. A charming performer, Petrova's sense of the stage and her lyrical nature provided yet another jewel in this gem of a production.
Italian baritone Bruno de Simone was superbly effective as Taddeo, another aspiring suitor of Isabella, as was Columbian bass Valeriano Lanchas engaging as Haly, Mustafa's captain. Rounding off the cast was a crew of the deepest voiced eunuchs you'll ever hear. But what fun they were.
Director David Kneuss brought incredibly creative concepts to the esteemed Jean-Pierre Ponnelle production, carefully orchestrating the pace and movement in a theatrical-type version of a Rossini crescendo that builds and builds to a spectacular climax. The direction, here, was just about as perfect as it gets.
Riccardo Frizza conducted the responsive orchestra with verve, keeping things crisp, brisk, and bright. While there was appropriate give and take between the pit and the stage, he tended to hold their operatic feet to the fire rather than pull back on the Rossini momentum. The musical and artistic results were splendid and everso much fun.
Of course, all ends well in this giddy and stylishly-done opera, with lovers united and reunited. It is comic genius as only Rossini could craft, and it's a sheer delight to see and hear. "L'Italiana in Algeri" plays at the Kennedy Center May 21, 26, 30 and June 3.
Copyright © 2008, The Virginia Gazette
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