The Series Is Complete!
12/13/2003
(5 out of 5 stars)
"Jennifer Larmore, Raul Gimenez, and Alessandro Corbelli recorded this L'ITALIANA IN ALGERI for Teldec in 1997, following their recordings of Rossini's two other most famous comedies, IL BARBIERE DI SIVIGLIA and LA CENERENTOLA. It is wonderful to have the three major comedies recorded in modern, stereo sound by three of the finest Rossinians of our day. L'ITALIANA is, in my opinion, the funniest of the "trio" of comic operas; the overture makes me laugh out loud, while such sections as the Isabella/Taddeo duet, the Act I finale, and the "Papataci" trio of Act II define the phrase "comedy in music." As Isabella, the Italian lady of the title, Larmore, in luscious voice, is sexy and playful, smoothly manipulating the three men in her life: Taddeo (Corbelli), Lindoro (Gimenez), and the Algerian "Bey," Mustafa (John Del Carlo). Yet Larmore's voice has darkness and weight, which serves her well in the opera's more serious moments, which include her arias "Cruda sorte" and "Pensa alla patria." Larmore's legato in her other aria, "Per lui chi adoro" (in which she dresses herself for a rendezvous with Mustafa) is stunningly beautiful, like black onyx. Honey-toned tenor Gimenez is the most stylish Lindoro imaginable, and he has the heroic weight for the second part of his aria, "Languir per una bella." Corbelli, as ever the subtlest of "bassi buffi," is pathetic yet hilarious as Isabella's middle-aged lover; his singing of "Ho gran peso" is a comic masterpiece. Del Carlo's dark yet mellifluous bass-baritone and flair for comedy make the Bey seem a less threatening, more loveable character than he usually does. Darina Takova and Carlos Chausson have first-rate voices in the small roles of Mustafa's wife, Elvira, and servant, Haly (Ali). As in BARBIERE, Lopez-Cobos' conducting has the lightness of touch so necessary for Rossinian comedy. And as in the Teldec BARBIERE and CENERENTOLA, the singers are as fine in the recitatives (presented here uncut) as they are in the "musical numbers." This first-rate recording is the best modern choice for L'ITALIANA."
Great intro to a great (and underrated) work
Casey Ellis | Mohegan Lake, New York United States | 01/13/2003
(4 out of 5 stars)
"This performance (and this opera actually) really deserve some more attention. "L'Italiana" is, in my opinion, the very essence of comedy in music. Issues that would have been serious and even verging on the tragic become simply funny here in Rossini's hands. Stendhal once wrote that this opera is as "gay as our world is not" and he was quite correct. Works of pure hunor are always exceedingly valuable particularly on religious and sexual topics. Its not that these aren't serious issues, they surely are, but everything should be laughed at now and then. It is healthy to remember how foolish we are. I shudder to think of the state of art without such works of irreverant humor and at the state of music without its great and irrepressible comedian, Rossini.
Now, to the present recording. The prevailing word here seems to be "subtle". This would be all well and good if "subtle" didn't sometimes translate into "underpowered". Nothing here is ever less than well-done but once in a while a freer feeling, a greater sense of risk and abandon could have helped alot. Those horns in "Pensa all patria" should not simply happen, they should blast out and startle the listener. The Act II Introduzione "Uno stupido, uno stolto" ought to be simply bursting with energy and its not here. The chorus sounds nice and involved but, similarly, they could be a bit more "pumped up". All this being said, the subtle approach used in this performance has more pluses than minuses. Musical and vocal nuances never before imagined bubble to the surface and the humor tends to be better thought out and less slapstick than usual, especially in the famous Act I finale. The Orchestre de Chambre de Lausanne play beautifully and Lopez Cobos keeps things appropriately sprightly despite generally slow tempos. The Overture (or rather Sinfonia in this opera) is truly a delight. And to be fair to Lopez Cobos, his idea is probably fairly close to what Rossini imagined and originally heard. He and Teldec cannot be thanked enough for doing this piece totally complete (and for having the recitatives done on a fortepiano). Even Lindoro's replacement Act II aria is included as an appenidix (although I much prefer "Oh come il cor di giubilo"). This might not be an original instrument performance but it is very much in the spirit of authenticity, in the best sense of the word.
Lopez Cobos probably knew he could get away with a more leisured approach than this opera is used to because his cast is so good. This is an opera with no unimportant roles and everyone here pulls their weight. At the center is the Isabella of Jennifer Larmore. She is exraordinary. Her voice is fairly large but soft grained and downright sexy. She sounds like her picture on the cover! High notes are as easy as pie to her and all of Isabella's considerable vocal challenges never sound forced or pinched. The lower ranges sound a bit odd, odd doesn't mean bad though. While she doesn't indulge in all that many interpretave gestures, knows how to work character into voice. There is almost something charmingly old-fashioned about her singing. Del Carlo is a worthy Mustafa with a fine voice. His portrait of this character is a triffle weak compared to say Samuel Ramey but it is pretty clear that this is part of the idea here. Del Carlo's high notes are not that easily managed but he uses what he has brilliantly. In this performance, Isabella totally dominates. Mustafa is fascinating but weak. Accordingly, "Gia d'insolito ardore" is not a display of power but rather the rant of a foolish braggart. The moment he sets eyes on Isabella he's done for. In "Oh! Che muso" (which is done brilliantly) you get the feeling that Isabella is teasing and taunting Mustafa. Del Carlo creates a totally valid portrait in this manner and much of what he does is downright hillarious.
Initially, I had some reservations about Gimenez's Lindoro. No doubt the tenor has a good voice but it sounded too un-Italian and very strained on the (granted, numerous) high notes. On repeated listenings however, I have started to get used to him. He certainly creates a portrait here and that is hard to do with Lindoro. He may be the most off-kilter thing here but I think if you don't just turn it off instantly you'll grow to like him as I did. No suprises with Corbelli! He is as usual, musically sensitive and side-splittingly funny. Taddeo in his hands becomes a truly fascinating figure. There is much more between him and Isabella than usual. "Ai capricci" is certainly a highlight of the set (the end is to die for!) and it is Corbelli who ends up dominating much of "Ti presento di mia man".
Takova does sterling work as Elvira (she sounds like a good Mozart person to me) and Polverelli is a sympathetic and lovely Zulma and there is great chemistry between her, Elvira and Haly. Speaking of Haly, Carlos Chausson is just great! He is in strong voice and has an infectous sense of humor about this small but charming character. Sometimes, I wondered why he wasn't singing Mustafa.
Translation and liner notes are top notch and there are several fun photographs. However, and this could just be careless reading on my part, I didn't see any mention of the fact that most of the recitatives (which, by the way, are dispatched with skill and humor by the whole cast) and Haly's aria "Le femmine d'Italia" were actually written by Luigi Mosca, who had composed an earlier opera on this same libretto. In closing, this is a great introduction to a great opera that is sublimley funny and full of the joy of life. Don't be fooled into thinking this is fluff. We all need works like this opera. Enjoy it and don't stop laughing!"
