The Dicapo Opera Theatre caps its 2008-09 season with a sparkling account of Gioachino Rossini's West-meets-East comedy "L'Italiana in Algeri" (The Italian Woman in Algiers, 1813), conducted by Samuel Bill and staged by Michael Capasso as a 1950s-60s Italian film farce. The first of four performances, on April 16 at 184 East 76th Street at Lexington Avenue, is reviewed here. Remaining hearings, at this writing, are on April 17 and 18 at 8 p.m. and 19 at 4 p.m.
Gabriela García, who made her mark as Teresa in Opera Orchestra of New York's "La Sonnambula" last season, handily proves herself, as Isabella, the clever Italian shipwrecked in Algiers, quite capable of carrying an opera as its leading lady. First discovered in picture hat, shades, and two-piece bathing suit, sheer scarf wrapped around her as a skirt, sunbathing in a sandbox beneath a palm tree, García delivers a vibrant "Cruda sorte," lamenting her lot and, plotting to improve it, ornamenting the "Tutti la chiedono" section of the cabaletta with skill. In the production designed by John Farrell and lit by Susan Roth, costumer Angela Huff puts García in red high heels, complementing a sun dress decorated with cherries, when she's borne in on a litter to meet Mustafà, Turkish Bey of Algiers; formal black pants for her reconciliation with Lindoro; harem pants, donned in an elaborately bejeweled tent, when beguiling three suitors at once with her "Per lui che adoro" and receiving the Bey for espresso; and pert traveling outfit, such as some of us might remember our mothers wearing some time ago, for her great getaway at the end. She sings a stirring "Penso alla patria," rousing, with her patriotic fervor, the other captive Italians to rebel, backed by a louche quartet of members of the mob.
Bass Todd Robinson, emerging, for his first entrance, from a pile-up of harem women, immediately impresses as a commandingly comic Mustafà, with a voice of sonority and flexibility, an impression he soon reconfirms in third scene aria "Già d'insolito ardore." He and polished baritone Chad Armstrong, as Isabella's "uncle," really her nebbishy older suitor, who doffs his fedora and goes native for the Turkish "Kaimakan" ceremony, trade ringing high Gs as they anticipate the reciprocal "Pappataci"-eat and shut up-honors, for which Armstrong and John Bernard, as Lindoro, convince Mustafà that the extended pinky and index finger-for the horns of the cuckold-is an appropriate sign. Garbed as a mobster himself, with a mouthful of spaghetti at the end, Robinson can scarcely protest the departure of his cherished Italian flame. Preparing a pizza, Bernard, sporting a tight, white tank top, shows off muscles and, singing "Languir per una bella," a bright, light tenor, and, rejoicing in Isabella's assurance of her love, cranks pasta out of a pasta maker during "Ah, come il cor di giubilo."
The first act finale, in which the cast, waxing onomatopoeic, describes its confusion when Isabella stands up to Mustafà and begins ordering him about, is sheer delight, as led off by Jennifer Valle, as Elvira, who crowns the ensemble with a pair of blazing high Ds. Baritone Brian Ballard, as the Bey's right-hand man, Haly, sings a sprightly paean to "Le femmine d'Italia," as Lisa Chavez, as Zulma, demonstrates what she's learned from the inspiring Isabella. The chorus, as harem women and guards, and mobsters, and the orchestra make a solid contribution.
The ticket price is $60 and well worth it. Go to www.dicapo.com or phone 212/288-9438 for further information.
Dicapo's 2009-10 season will consist of artistic advisor Tobias Picker's "Emmeline" (September 10, 11, 12 and 13), Giuseppe Verdi's "Rigoletto" (October 8, 10, 16 and 18), Thomas Pasatieri's "The Hotel Casablanca" (January 22, 23 and 23, 2010), the world premiere of Francesco Cilluffo's "Il Caso Mortara" (February 25 and 27, March 5 and 7), and Giacomo Puccini's "Madama Butterfly," in the Brescia version (April 15, 17, 23 and 25).
