I don’t suppose anybody watches a Rossini comedy for profundity or great insights into human nature but there’s no denying that done well they can be great fun. This 2002 performance of Il Turco in Italia from the Opernhaus Zürich certainly manages to be that.
The basic plot is predictably silly and full of stock characters; gypsies, flirty young wife, dim older husband, lecherous Turk etc. but wrapped around this is the idea of a poet who is recording what he is seeing as the basis for a new play while, sometimes successfully, sometimes not, trying to influence the action to meet his needs. It’s quite clever and often very funny.
A while ago I had the misfortune to watch a thoroughly misconceived version of Purcell’s King Arthur. I have now had a chance to watch a version from the 2004 Salzburg Festival and it’s a lot better! This production by Jürgen Flimm takes Purcell and Dryden’s work and treats it respectfully but not solemnly. As originally intended, it’s given as a series of scenes spoken by actors interspersed by songs which are sung by five singers who change role as needed. The dialogue is in German but the singing is in English which seems a bit odd at first to an English speaker but one soon gets used to it. Flimm uses Dryden’s text for the most part but interpolates some scenes, notably where Merlin, disguised as an investment banker’s wife, enters via the auditorium and delivers a diatribe about Regietheater and how Salzburg has gone all to Hell. It’s just like being at a typical COC Opera 101. It’s staged in the appropriately baroque Felsenreitschule and the set mirrored the arcades of the building with a brightly painted wooden arcade structure set behind the stage. The orchestra is in a sunken pit in the middle of the stage so the action takes place all around them. There is clearly some heavy duty projection equipment behind the set because the production uses a wide range of, often spectacular, lighting effects.