Met Opera: James Levine Conducts L'italiana in Algeri

I went on Thursday evening to the Met Opera for the second time this season.  This performance featured James Levine, the company's Music Director Emeritus, conducting one of Rossini's early operas, L'italiana in Algeri, written when he was only 21 years old.

Like Mozart's Don Giovanni, which I saw earlier this month, L'italiana is technically considered, at least according to Wikipedia, a dramma giocoso in which both comic and dramatic elements are commingled.  Taking its inspiration from the works of the Venetian dramatist Carlo Goldoni, this form of opera was common in the eighteenth century but has now all but disappeared from the repertoire.  To be honest, though, I'm not sure why this particular work was so designated.  It struck me as pure opera buffa, a lighthearted comedy that at times approached slapstick.  The characters were deliberately portrayed as no more than cartoon caricatures, and there were no dark dramatic moments to spoil the fun.  The story of the Turkish bey who longs to marry an Italian girl is, in fact, reminiscent of Mozart's Die Entführung aus dem Serail, but the final scene lacks the latter's compassionate characterization of the pasha whose magnanimity gave such depth to Mozart's singspiel and raised it to a higher level than that of a mere diversion.  From its "surprise" overture, which used the same stratagem as had Haydn in his Symphony No. 94, L'italiana's music is charming and vivacious and demonstrates clearly why Rossini was to become, only a few years hence, the most popular opera composer of his day.

The libretto was written by Angelo Anelli who had worked with a number of Italian composers and who in this case adapted one of his own texts that had previously been set to music by Luigi Mosca.  The opera premiered in Venice in 1813 and was wildly successful, and deservedly so, the first of Rossini's works to gain a permanent place in the standard repertoire. 

I never miss an opportunity to hear Maestro Levine conduct and that was really my main motivation in attending this production.  As usual, he turned in a superlative performance on the podium that allowed the audience to truly appreciate Rossini's music.

The title role was sung by mezzo-soprano Marianna Pizzolato making her Met debut as she replaced Elizabeth DeShong, who was forced to withdraw from the entire run due to illness.  I thought Ms. Pizzolato did an entirely acceptable job, all things considered, but she was obviously out of her depth in taking on a starring role in a bel canto opera, especially when in the company of such a talented cast.  It was really tenor René Barbera in the role of Lindorno who stole the show and received the greatest applause.  The supporting roles were expertly handled by baritone Nicola Alaimo as Taddeo and bass-baritone Ildar Abdrazakov as the pasha.

This was one of the Met's older productions dating all the way back to 1973.  It was created by Jean-Pierre Ponnelle who did service as producer, set designer, costume designer and was in the end very successful in providing a buoyant setting for this cheerful work.

All in all, this performance proved a delightful experience and one that was extremely well executed.  I'd recommend it heartily to anyone with a love of Rossini's music who's seeking a fun, entertaining evening at the opera.