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OperaNotes Review
New York City Opera
October 7, 2005
By Charlene Frank
Il Viaggio a Reims
(Slaptick at NYCO)
Music:
Gioachino Rossini
Conductor:
George Manahan
Director: James Robinson
Set Designer: Allen Moyer
Costume Designer: Anna Oliver
Cast:
Madame Cortese: Cheryl Evans
Countess de Folleville: Heather Buck
Corinna: Maria Kanyova
Marquise Melibea: Allyson McHardy
Count Libenskof: Javier Abreu
Cavalier Belfiore: Andrew Drost
Lord Sidney: Daniel Mobbs
Don Alvaro: Marcus DeLoach
Modestina: Alison Tupay
Don Luigino: David Gordon
Baron Trombonok: Eduardo Chama
Don Profondo: Gustav Andreassen
Don Prudenzio: Marco Nistico
Maddalena: Jennifer Tiller
Antonio: Scott Hogsed
Zefirino: Daniel Paget
Gelsomino: Matt Morgan
Delia: Leah Wool
In
1825, one of Rossini's last operas, Il Viaggio a Reims premiered
at the Théâtre Italien in Paris as part of the celebration for the coronation of
Charles X of France. All the major stars of the time, and a few not
so major stars were brought together to fill the 18 roles, 14 of them solo roles, 10 of
them leading roles. The opera was presented three times and was not seen again
until the 1970's (although some of the music was reused in Rossini's final opera,
Le Comte Ory). Like in 1825, the New York City Opera also had only three performances
of this not often seen Rossini work.
As with many of Gioachino Rossini's comedies, this is an easy opera to watch as long as everyone filling the 18 roles understand how to perform comedy and those 10 leading roles can also sing like stars while making you laugh. Last night's performance had it all. It started with Director James Robinson and Set Director Allen Moyer. They pulled the big cast and big staging together with humor and perfect timing. The story is just silly, but silly stories are nothing new to opera, both comic and dramatic. At least in this opera the story is supposed to be silly and at New York City Opera last night, the entire audience was belly laughing from the perfect combination of silliness and superb voice. Not just one superb voice, but all the voices, all 14 solo roles.
There were so many great performances last night that all should be noted, but it is easy to know where to start, the Russian (tenor, Javier Abreu) galloping across the stage on the hobby horse with his comic partner mezzo-soprano Alison McHardy (Marquise Melibea) were loaded with operatic talent and slapstick style funny. And then there was French lecher (tenor, Andrew Drost) chasing every woman he who crossed his path. I saw Mr. Drost in his premiere performance in Sweeney Todd at the NYCO just two years ago, this young man has grown in great leaps. Then there were the sopranos. Not just one or two, but three sopranos! To have three such outstanding (and very funny) sopranos on one stage, Cheryl Evans, Maria Kanyova and Heather Buck, is something that almost never occurs in opera.
Call Rossini and Bel Canto in general Opera Lite if you want, I don't care, I love it, and there was nobody there last night with their heads falling back snoring (yes, try and name one Wagnerian opera where someone around you doesn't fall asleep, I love them too, but there is always someone snoring around me during Ho-Ho-To-Ho). It is too bad that there were only three performances of Il Viaggio because I love introducing people to the art of opera and this would have been the perfect first step. I look for something easy, something understandable and something absolutely loaded with talent. People usually chose Bohème or Die Zauberflöte, but as much as I love them, I've seen people sleeping in both. Maybe NYCO would like to try a "Bring a First Timer to the Opera Night". If they do, this would be the opera and this would be the cast. People just learning about opera are always surprised that it can be so funny!