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GIOACHINO ROSSINI
L’ITALIANA IN ALGERI
CONNECTICUT OPERA
NOVEMBER 5, 2005

Review by: Paul Joseph Walkowski
OperaOnline.us
The Bey (Governor) of Algiers, Mustafa, has all the women he wants, except one. Tired of both the docility of his devoted wife, Elvira, and the availability of a willing harem, he directs the captain of his guard to find and bring him an Italian woman to liven his life up a bit – and that’s when things get interesting for Mustafa, who finds he is no match for the cunning of the spunky Isabella, “The Italian Girl in Algiers”.
Written in 1813 this comedic masterpiece has survived throughout the ages because of two factors, as we saw last night in Hartford’s Bushnell Center: the humor that is so easily found in the age old battle of the sexes is timeless in its appeal, and the music is enduring because of its lyricism.
Saturday, November 5, 2005, the audience at the Bushnell wasn’t disappointed. Under the solid direction of conductor Willie Anthony Waters, the Hartford Symphony Orchestra and cast gave a rousing interpretation of this Rossini favorite, with an imaginative addition or two, like a disco ball descending from the ceiling at the end of Act 1 and the auditorium being bathed in disco lights, and casting Lindoro as a pizza maker to the Bey. Pretty clever!
In the leading role of Isabella was mezzo-soprano Phyllis Pancella, whom I saw in this role last season at the Boston Lyric Opera – where Maestro Waters apparently saw her as well. She clearly impressed, and last night was no different. Twenty years of singing and acting experience showed as she effortlessly glided through her role, with just the right sprinkling of sauciness to give her Isabella both sex appeal and an amusing flirtatiousness to charm the Bey and those of us in the audience. Her mezzo voice is communicative and comfortably within her tessitura such that her Isabella is a natural to both see and hear. Well done!
Making his Connecticut Opera debut was tenor Chad Freeburg as Isabella’s love interest Lindoro. Mr. Freeburg has a good stage presence and a Lyric voice that is bigger than his slender body type would suggest he is capable of producing. The fact is when he was singing, it was hard not to take notice of his obvious talent. He gave a truly impressive performance on all counts.
Two singers whom I have seen before in competition at the Connecticut Opera Guild and who are also Resident Artists with Connecticut Opera: soprano Sara Callinan, who sang the role of Mustafa’s wide, Elvira and mezzo-soprano Meridith Ziegler, who sang the role of Elvira’s friend Zulma, both gave strong performances, displayed solid stage presence and had lovely voices that projected well into the large auditorium, while never seeming stressed or pushed. Considering these were debut performance in major roles, both singers were impressive, apparently relaxed and not the least awkward. Brava!
Both baritone Kenneth Overton, who sang the role of Isabella’s fictitious uncle (it was either that or be impaled by the Bey who saw no other use for him) and baritone Colin Brady, who sang the role of captain of the guard, Haly, gave outstanding performance in their respective roles. Mr. Brady is a Connecticut Opera resident Artists, whose skill as a singer and actor speak volumes about the quality of Connecticut Opera’s R.A.P.
Perhaps the surprise performance of the evening was actually that of Kenneth Overton, whom I thought did an outstanding job as Taddeo, and whose voice was strong, rich in tone and even throughout the entire performance.
While this reviewer’s view was obstructed throughout the entire performance by a “head” that sat one row in front and occupied the entire center stage, making it difficult to see much of the action, the peripheral view on each side was enough to draw these conclusions about the lighting by Matthew McCarthy, the set design by Robert Little, and pretty impressive costumes by Charles R. Caine (provided by Malabor Ltd.) The “exotic” setting of the seaside palace and port city in Algiers was full, as we have come to expect from Connecticut Opera, and when supplemented by some impressive color changes with lighting – particularly the scene where the backdrop of the city turned sunset orange, there was little to fault here. Mood changes in lighting were handled effectively, although I might like to have seen even more. As for costumes, this was one of the more colorful and imaginative costume arrays I have seen in a while. Mustafa’s court, with padded bellies, turbans that were ridiculously large and powdered faces with rouge on their cheeks presented an intriguing concept on just how such a ruler might want his court butt kissers to look. Well done!
There may not have been many seats left in the auditorium last night, but there were some. To those who missed this clever and consistently adept musical adaptation of Rossini’s first comedic opera, they missed a lot. Maestro Waters and the Hartford Symphony deliver flawless performances, and if for no other reason than the performance of the orchestra, a Rossini is always reason to venture out and enjoy. When coupled with an outstanding ensemble cast, colorful costumes, a funny story to tell, solid scenery and an adept use of lighting and smart stage direction as provided by Ned Canty to create mood, as was the case last night, a night at the opera is just what it should be – an event.

Conductor, Willie Anthony Waters
Stage Director, Ned Canty
Set Designer, Robert Little
Lighting designer, Matthew McCarthy