Argentina Rossini, Il turco in Italia: Permanent Chorus and Orchestra of Teatro Colón / Jordi Bernàcer (conductor). Teatro Colón, Buenos Aires. 7.9.2023. (JSJ)
Production:
Director – Pablo Maritano
Scenery – Gonzalo Córdoba Estevez
Costumes – Renata Schussheim
Lighting – Caetano Vilela
Video – Matías Otálora
Chorus director – Miguel Martínez
Cast:
Selim – Erwin Schrott
Fiorilla – Irina Lungu
Geronio – Fabio Capitanucci
Don Narciso – Santiago Ballerini
Prosdocimo – Germán Alcántara
Zaida – Francesca di Sauro
Albazar – Santiago Martínez
Il turco in Italia is not among Rossini’s most popular opera buffa and nor is it among the least known but remarkably its first production at the Teatro Colón was only in 1979 followed by a second in 2000. This new production was thus timely – and the sold-out performances, despite the dire economic situation, is indicative of its welcome return.
The work is set on the seashore near Naples and this was intention here, although there was no sight of it, with the actual location a mid-1950s seaside Neapolitan hotel – a ‘meeting place for travellers under the radiant summer sun’ to summarise the words of director Pablo Maritano.
Thus the scenery was dominated by a large two storey H-shaped rotating structure opening in the lobby and with flow through to individual rooms and facilities and the outside garden with a pool.
Apart from the inevitable sound of rotation, which was frequent reflecting the primarily ensemble nature of the work with its many mini-scena, the concept was a novel one which worked well, adding variety and realism to what is otherwise not the most realistic of storylines. The costumes and lighting too was in keeping, without the stylised ‘Turkish’ look that often is adopted.
The opening was cinematic with a cast listing and period postcard images and overseeing the goings on, Prosdocimo – in the role of the ever-present hotel concierge – gathering and orchestrating material for his own production.
Leading the cast Erwin Schrott was in fine form with his powerful and distinctive voice and charisma as Selim. Opposite him Irina Lunga as Fiorilla, the most extensive of all the roles, who was outstanding, as was mezzo-soprano Francesca di Suaro as the gipsy Zaida both vocally and visually. Her Teatro Colón debut will hopefully be followed with further engagements in some of the many roles for which her voice is suitable.
Fabio Capitanucci was a suitably bumbling Geronio, although not always perfectly audible with his light voice at times overshadowed by the orchestra. Germán Alcántara was a busy Prosdocimo and Santiago Ballerini excelled in the virtually cameo role of Don Narciso. Santiago Martínez also was notable in the brief appearances as Albazar.
The music was in the hands of Jordi Bernàcer, who presented a clear and well-balanced reading, although at times I felt an occasional lagging of tempo.
The chorus also added to the excellence of the production, even if at times their contexts were unusual, such as the group posing as cooks in the kitchen!
Jonathan Spencer Jones