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DECEMBER 2003

The Rossini Festival in Pesaro
by Irving Spitz

An operatic extravaganza on the Adriatic

Pesaro, a delightful city on the Adriatic coast, is the birthplace of Gioachino Rossini. Since 1980 it has hosted an annual festival devoted to the production of the operas of its illustrious native son, in particular the long-forgotten scores. The most notable was the first revival of Il Viaggio A Reims (The Voyage to Reims). Following four performances in 1825, Rossini withdrew the score and it was presumed lost. Accidentally rediscovered, it was revived in Pesaro in 1984 and has now entered the international operatic mainstream.

Although he composed some 39 operas, until the Rossini revival (in large measure due to the efforts of the Pesaro Festival), the only one regularly performed was the Barber of Seville.

Rossini worked prodigiously fast and claimed to have written the Barber in 13 days, to which Donizetti is reported to have said, "Ah yes, but Rossini was always a lazy fellow."  Rossini completed Semiramide in 33 days, remarking, "for once I was able to take my time."

The 2003 festival featured five operas, the highlight being a new production by the Catalan artist, Llu’s Pasqual, of Rossini's penultimate opera, the light-hearted comedy Le Comte Ory.  With the aid of the librettist, Eugene Scribe, Rossini recycled many of the numbers of Il Viaggio into this opera. The plot revolves around the escapades of a dissolute Don Giovanni-like character, Comte Ory, who attempts to win the heart of the Comtessa Adele. Like his predecessor, the Comte is equally unsuccessful.

Pasqual's innovative set featured a billiard saloon with chandeliers and rich decor, all part of a highly original parlor game. Juan Diego Florez in the title role is a great vocal artist in his prime and delivered a sumptuous performance. His purity of voice and vocal athleticism was a marvel. Whether playing the part of the count, a fake hermit, old woman or passionate lover, his commanding and imposing presence dominated the performance, holding everyone, both in the audience and on stage in thrall.

However this was not a one-man show and he was ably supported by an excellent cast, notably his ensign Isolier, Marie-Ange Todorovitch, a mezzo in the Cherubino and Octavian mold who sang with fluidity and assurance. Also impressive was bass-baritone Bruno Pratic˜ in the comic role as the count's friend. The Comtesse Adele, soprano Stefania Bonfedelli, was a little unsteady early on but rapidly settled into the role.

Semiramide is a convoluted story of the Babylonian Queen Semiramide, who together with Prince Assur, assassinated the king. Assur in turn expects to win her hand. At the same time, Semiramide's son disappears. These events occurred before the curtain rises. During the course of the opera, the army commander Arcase returns and Semiramide is enamored with him. Arsace, turns out to be the son of Semiramide but only the high priest Oroe is aware of this. At the climax of the opera, the three principals meet in the tomb of the murdered king. Arcase tries to kill Assur but Semiramide intervenes and is mortally wounded.

This opera requires a soprano and contralto capable of doing justice to the demanding roles of Semiramide and Arcase. This production certainly had the contralto, Daniela Barcellona, who as Arcase delivered all the goods. Her voice was large and rich with a marvelous range of color.

There was some beautiful singing in the duets with Darina Takova, who took the title role. Marco Spotti as the high priest Oroe, was impressive with his sonorous bass. Bass Ildar Abdrazakov successfully portrayed the villainous character of Assur.

William Orlandi's imaginative multipurpose set featured a large terrestrial globe and mirrors, evoking impressions of the space age (not unlike a Star Trek movie), a meeting in the UN Security Council, a gambling saloon or venue for a fencing competition.

A revival of Rossini's rarely performed Adina was a real revelation. As was his usual practice, Rossini resorted to much self-borrowing from forgotten operas of his youth for the score. Set in a harem in Baghdad, the plot is reminiscent of Mozart's Abduction from the Seraglio. Commissioned by a wealthy Portuguese, this one act opera received only two performances prior to a revival in 1963.

The current production was first staged in Pesaro in 1999. In this revival, all singers complemented each other well, in particular soprano Joyce Di Donata in the role of Adina who floated her high notes beautifully. Equally impressive was tenor Raul Giminez as her lover. Giovanni Carluccio provided handsomely carved ornate settings.

To be continued next month.

 

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