Gluck’s Orfeo/Orphée is one of those works where things get a bit complicated because an Italian and a French version wre produced and then all kinds of mash ups of the two versions. It’s a bit like Don Carlo/Don Carlos or Guglielmo Tell/Guillaume Tell. The original Orfeo ed Euridice, which premiered in Vienna is quite short and has Orfeo written for a castrato. The Paris version spreads the piece out over three acts, adds both new vocal music and lots more dance music and has Orphée written for haut-contre. Today, when people do the French version they usually cut some of the new music and us the higher Orphée music; casting either a mezzo or a counter-tenor. This is true of both recordings (Paris 2000 and Munich 2003) which have come my way in the past.
Rossini’s La Donna del Lago is based on the Walter Scott poem, itself a deliberately romantic view of Scottish history, simplified until not much is left but the rivalry for the heroine’s hand by her three suitors and a completely unexplained war between the king of Scotland and the Clan Alpine. Dramatically it’s thin indeed but it’s Rossini so there is crazy virtuosic music and it’s very hard to cast. One needs two mezzos; one a mistress of Rossinian coloratura, the other more dramatic, and two tenors; both of which can do the crazy high stuff. The supporting roles aren’t easy either. Realistically only a major house could cast this adequately.
Rossini’s last opera, Guillaume Tell, was written for Paris and is an extremely ambitious piece of great musical sophistication. It’s also very long. Performed uncut, a rarity, it runs something like four hours including ballets. It’s also hard to cast with the role of Arnold Melcthal in particular making unusual demands. It’s a high tenor role combining the flexibility needs of a typical Rossini role with something much more heroic. The soprano role of Mathilde has some of the same issues; signature Rossini coloratura is combined with the sort of dramatic heft one might more associate with early Wagner.
Bartlett Sher’s concept for his production of Rossini’s Le Comte Ory is a theatre within a theatre setting with scruffy bewigged footmen types operating old fashioned stage machinery. Throw in costume design that seems to cross the slutty middle ages with My Little Pony and one gets a production that would probably appeal to the average seven year old girl. Fortunately the singing and acting is really rather fine with splendid vocal contributions from Juan Diego Flórez, Joyce DiDonato and Diana Damrau well backed up by the likes of Stéphane Degout and Susanne Resmark and it’s Maurizio Benini and the Met orchestra so no problems there either. To be honest they are hamming it up for all its worth but that doesn’t seem unreasonable in this very silly piece. The second act trio which features some mind boggling gender bending with the three principals swapping partners faster than Liz Taylor swapped husbands is hilarious.
Emilio Sagi’s 2005 production of Il Barbiere di Siviglia is incredibly elegant and restrained. It looks like something by Robert Carsen. The sets are all constructed and transformed in full view and just about everything is black and white until the final scene. There is a lot of background action and commentary from a talented group of dancers who give a very Spanish feel to the piece. The final scene bursts into vivid, even loud, colour and the finale is just gorgeous to look at. The direction of the actors is well thought out too though they do seem to sing from on top of furniture a lot of the time.
Laurent Pelly’s 2007 production of Donizetti’s La Fille du Régiment was a coproduction of the Royal Opera House, The Metropolitan Opera and the Wiener Staatsoper which one make expect to produce a stodgy snoozefest. It’s not. It’s a fast paced, energetic and funny production. There’s nothing especially cleverly conceptual about it but its well designed, well directed and well played. If one were to be hyper critical it would be that the humour in Act 2 is rather laid on with a trowel but it’s not too seriously overdone. The setting is updated from the wars of the first Napoleon to something vaguely WW1 like. In some ways this doesn’t make a whole lot of sense but it does provide a visual “Frenchness” that’s probably easier for modern audiences and, anyway, the libretto as originally written is about as historically accurate as the average piece of bel canto fluff. Best not get into serious military history buff territory and get on and enjoy the show.
Rossini’s Le Comte Ory is a very silly opera about the wicked count and his equally randy page scheming to get into the pants of the virtuous, more or less, Countess Adele while all the local men, including the countess’ brother are off at the crusades. To this end in Act 1 the count appears disguised as a hermit and in Act 2 as a nun. Add to the silliness a fiendishly difficult set of vocal parts and you have a sort of bel canto comedy extreme. To up the ante, today’s Comte, Juan-Diego Florez had been up all night waiting for his wife to pop a pup which she did 35 minutes before curtain.