* Notes *
The opening performance of Il Turco in Italia at Los Angeles Opera was delightful. The production originates from Hamburgische Staatsoper, directed there by Christof Loy, with attractive costumes and sets from Herbert Mauerauer. Here Axel Weidauer directed the amusing action to good effect, the audience certainly was engaged. Even though the specifics of immigration and Orientalism are different between Hamburg and Los Angeles, the production still made sense to an American viewer. For example, the fear of both the Romani and the Turks is more keenly felt in Germany than the United States, but this did not detract from the our understanding of the opera.
As usual, the Los Angeles Opera orchestra was sounding its best under Music Director James Conlon. The brass soli were a bit tentative, perhaps occasionally sour, but not bad. The chorus had a particularly transparent sound.
Kate Lindsey made her Los Angeles Opera debut as Zaida, she was awfully spunky and sang with zest. Maxim Mironov's light, pretty tenor suited Narciso, though there were times when he was not audible over the orchestra. Paolo Gavanelli was most impressive as Don Geronio. His voice is luminous and warm, and he always embodied the role convincingly. Thomas Allen was charming as Prosdocimo, his comic timing perfect.
As Fiorella, Nino Machaidze looked stunning, and sang well. Her voice has a penetrating quality to it, just bordering on shrill. Simone Alberghini (Selim), the Turk of this opera, was comic and his voice had good volume. He does have a lot of vibrato, but this was fine for this role.
* Tattling *
The performance was dedicated to Maria Altmann, who died last Monday.
There was some light talking from the audience on the orchestra level, but otherwise, everyone behaved acceptably. The slow moving zombie dancers in the background of many scenes were given great applause, though so were the singers, and Machaidze received a standing ovation.