Gioachino ROSSINI (1792-1868)
L’Italiana in Algeri - Comic opera in two
acts (1813)
Mustafa, Bey of Algiers – Wladimiro Ganzarolli (bass); Elvira, Mustafa’s wife
– Jean Marie Bima (soprano); Haly, captain of the Algerian pirates – Alessandro
Corbelli (bass); Lindoro, a young Italian and Mustafa’s favourite slave –
Francesco Araiza (tenor); Isabella, an Italian lady - Lucia Valentini-Terrani
- (mezzo); Taddeo, Isabella’s companion – Enzo Dara (buffa baritone)
Capella Colonienses. Männerchor des WDR/Gabriele Ferro
rec. Schulzentrum Lindar, Cologne, August 1979
Performed in the Critical Edition by Azio Corghi for the Rossini Foundation,
Pesaro
SONY OPERA HOUSE 88697579082 [73.38 + 72.38]
Rossini first made his mark in his highly competitive chosen profession with
a series of five
farsi presented at the small San Moise theatre in Venice. These brought
him to the notice of the city’s premier theatre, La Fenice, who commissioned
him to write an opera seria. His Tancredi, based on Voltaire’s
tragedy, but given a happy ending, was premiered there in February 1813; it
was a resounding success. Rossini’s work reverted to Voltaire’s tragic ending
in a revival at Ferrara a few weeks later. It was not popular with contemporary
audiences.
After the revised Tancredi, Rossini returned to Venice to write a comic
opera, at very short notice, for the Teatro San Benedetto. They were desperate
after another composer had failed to deliver. Faced with a timetable of less
than a month Rossini decided to recycle, with some revisions, the libretto
of an existing opera. He also outsourced the recitatives and Haly’s short
aria in act 2 La femmine d’Italia. Premiered on 22 May 1813,
Rossini’s L’Italiana in Algeri, his eleventh opera, was received
with “almost constant wild, general applause” according to a contemporary
review. The earliest of the composer’s truly great full-length comedies it
has speed as well as felicitous melodies. Although it fell from the repertoire
for a period during the first part of the 20th century it is one of the few
Rossini operas to have had a presence in the catalogue since the early days
of LP.
The plot concerns the feisty eponymous heroine Isabella. She has been sailing
in the Mediterranean, accompanied by an elderly admirer Taddeo, in search
of her lover Lindoro. After her ship is wrecked, Mustafa, the Bey of Algiers,
believes her the ideal replacement for his neglected wife who he intends to
marry off to a captured slave, who happens to be Lindoro. After complicated
situations involving Taddeo being awarded the honour of Kaimakan and Mustafa
in turn becoming a Pappataci, a spoof award invented by Isabella to keep him
obeying her strict instructions. All ends well in a rousing finale with the
Italians escaping from the clutches of the Bey.
Not for nothing did L’Italiana in Algeri launch Rossini on an unstoppable
international career. It saw him become, in his lifetime, the most prestigious
opera composer of his time. The CD era has coincided with his emergence to
his rightful place in the pantheon. It is now possible to buy recordings of
all but a handful of his operas. Lucia Valentini-Terrani had already recorded
the role of Isabella, along with Enzo Dara as Taddeo. They were conducted
by Gary Bertini a year earlier. Whilst the earlier recording was with the
Dresden State Orchestra, this one uses the lighter textures of a period band.
It is also, I believe, the first recording to use the then newly published
Critical Edition by Azio Corghi for the Rossini Foundation, Pesaro. It was
first issued on CD by CBS/Fonit Cetra on M2K 39048 with libretto and translation.
Despite the benefits of the period band, aided by a cast of native Italians
who invest the recitatives with commendable nuance, somewhere along the way
Rossini’s vibrant opera with all its humour gets lost. In the eponymous role
Lucia Valentini-Terrani is altogether heavier in tone than in her previous
recording (see review)
and does not bring out the lightness and vivacity of the role. This is just
what defines Marilyn Horne’s interpretation on Erato (2292-45404 nla but see
review
of highlights). Despite this Valentini-Terrani’s Crude sorte! (CD
1 tr.9-10) has presence, and in the rondo Pensa alla patria (CD 24
Tr.2) her coloratura is secure as Isabella tells her compatriots to think
of their country, show bravery and join in her plan. It is here that she misses
out so much compared to Horne, so versed in the Rossini idiom. In many instances
it is Enzo Dara as Taddeo and Alessandro Corbelli as Haly who really come
into their own and who relish the nuances in the music and their native language.
They bring character to their roles, so vital in the Pappataci scene
(CD 2 trs.26-28). Francesco Araiza has neither the ideal vocal lightness nor
the freedom to soar, albeit he sings with taste. Wladimiro Ganzarolli is not
the true bass the role of Mustafa really requires. He is often somewhat gruff
of tone and struggles with both the lowest notes and the humorous asides.
If it were not for the competition I would, perhaps, find more to praise in
Claudio Scimone’s interpretation, aided by the fine playing of the small-sized
I Solisti Venetti. As it is, whilst I welcome the renewed availability of
this version, and at a competitive price, it cannot go anywhere near the top
in a very competitive market. Those who do not know this delectable work,
find the story a little far-fetched, and the Pappataci scene difficult to
get their head around, should really watch a performance on DVD before acquiring
an audio-only version for enjoyment in the car or moments of the blues. The
incomparable Marilyn Horne’s 1986 Metropolitan Opera performance, in Jean-Pierre
Ponnelle’s production, caught for TV by Brian Large, is recommended (DG 073
4261.). In better video is the version from TDK (DVWW-OPITAL) in Andrei Surban’s
somewhat idiosyncratic staging (see review).
Dario Fo’s hyperactive staging is also somewhat off-the-wall in the Dynamic
recording from Pesaro in 2006. Filmed in high definition it has visual spectacle
to go along with the production (see review).
This performance is also available on CD for those who prefer live performance
audio recordings. A studio recording made in association with staged performances
in Vienna in 1989 features the very beefy Vienna Philharmonic conducted by
Abbado with Agnes Baltsa’s tangy mezzo giving a very characterful portrayal
as Isabella. As here, expert Rossinian’s Corbelli and Enzo Dara sing Haly
and Taddeo and are joined by a very characterful Ruggero Raimondi as Mustafa.
Despite the size of the band, the performance goes along with zip with the
finale of act one particularly invigorating.
As with other issues in this series the accompanying leaflet has a track-listing
and, in English, French and German, a track-related synopsis. The sound is
very acceptable with presence and range.
Robert J Farr