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A bizarre misunderstanding returns: L’equivoco stravagante at the Rossini Opera Festival

Por , 09 agosto 2024

The Rossini Opera Festival is reviving its successful 2019 production of one of Rossini's earliest operas, L’equivoco stravagante (The Bizarre Misunderstanding). Composed in 1811 for the Teatro del Corso in Bologna when Rossini was just 19, the opera faced censorship after only three performances due to its obscenities and the overall crass tone of its story, with a libretto by Gaetano Gasbarri.

Pietro Adaíni (Ermanno), Maria Barakova (Ernestina), Carles Pachón (Buralicchio) and Nicola Alaimo
© Amati Bacciardi

This is not one of the Maestro's most enchanting masterpieces, though the score contains some very beautiful passages. The duets are charming, there are a couple of thrilling and intense concertati, and some moving, lyrical arias for the romantic tenor. However, the libretto is filled with vulgar puns, double entendres and general silliness. The misunderstanding of the title refers to a false story – "fake news" – spread by one of the leading woman's suitors, the kind but poor one, to his rival, wealthy and arrogant. He claims that the lady is actually a man who was castrated by his father as a child to pursue a career as a castrato singer and subsequently raised as a girl. The rival, understandably, backs off, leaving the field open for the other suitor. This tasteless premise leads to a multitude of silly and vulgar jokes. 

L'equivoco stravagante
© Amati Bacciardi

Directors Moshe Leiser and Patrice Caurier handle these jokes with a very light touch. The show acknowledges them without emphasising or censoring them; they simply occur and pass. Instead, the production delights in other gags: the singers all wear comically long fake noses, nodding to the Commedia dell’arte; the obnoxious rich suitor, Buralicchio, sports a fake protruding backside that makes him waddle like a turkey; Ernestina, the lady in question, and her father, Gamberotto, are portrayed as nouveau riche characters who speak in absurdly convoluted language, believing it makes them sound refined and sophisticated. It's all extremely silly, but it elicited much fun and laughter from the audience.

Christian Fenouillat's set design features a single room in Gamberotto's house, adorned with a striking painting of a rural scene with cows, perhaps a nod to Gamberotto's recent past as a farmer. The room includes minimal props and slightly psychedelic wallpaper. The intelligent use of perspective, enhanced by Christophe Forey's lighting, adds depth to the scene. A corner of the stage is transformed into a prison, where Ernestina is jailed for desertion after Buralicchio denounces her for avoiding the draft, as a man.

Carles Pachón (Buralicchio) and Nicola Alaimo (Gamberotto)
© Amati Bacciardi

The musical production was led by Michele Spotti, a talented young conductor already well-regarded in Pesaro. His interpretation of the score was brisk and energetic, guiding the Filarmonica Gioachino Rossini with enthusiasm and confidence. Although there were some hiccups in the overture, particularly in the brass section, the rest of the performance proceeded smoothly, maintaining a perfect balance between the orchestra and the stage, with a consistently lively rhythm. 

In the role of Gamberotto, Nicola Alaimo was the undisputed star of the performance. His natural comic flair and impeccable timing were irresistible, complementing his musical performance without overshadowing it. He delivered a perfect bel canto technique while portraying the (literally) biggest fool on stage, never losing his musical composure. A beloved singer in Pesaro, Alaimo was met with overwhelming cheers and applause at the curtain call. 

Nicola Alaimo (Gamberotto)
© Amati Bacciardi

Ernestina was portrayed by Maria Barakova, a very young singer and former student at the Accademia Rossiniana in Pesaro. She sang with flawless Italian pronunciation, particularly important for her role with its pompous, pretentious language. Her warm mezzo-soprano voice was perfectly suited to the Rossini style (a testament to the Accademia's training). Barakova delivered secure high notes without any edginess, though they were very powerful and perhaps slightly shouted, which might have been due to premiere nerves. Her coloratura was excellent.

Her poor but ultimately successful suitor, Ermanno, was played by Pietro Adaini, whose light, lyrical tenor suited the part well. Rossini wrote the opera’s only moving parts for this character, and Adaini particularly impressed during the quintet in Act 2, where Ernestina finally relents and confesses her love for him; his delivery of "Se tu lo vuoi vivrò" was heart-melting. The jail scene was also noteworthy, where Ermanno sings a sweet love aria to Ernestina while helping her escape. 

Matteo Macchioni (Frontino) and Patricia Calvache (Rosalia)
© Amati Bacciardi

Carles Pachón, who won the Neue Stimmen competition just two years ago, played the role of the rich, arrogant suitor, Buralicchio. His performance was both committed and genuinely funny, as he confidently paraded around with his exaggeratedly large bottom. Pachon's baritone voice, lower and deeper than Alaimo's, perfectly complemented his co-star's, making their scenes together a delight. While Buralicchio does not have a solo aria in the opera, his participation in the ensembles and duets highlighted his great style and elegance. 

The cast was rounded out by Matteo Macchioni as Frontino and Patricia Cavache as Rosalia, the “servant couple”. Both were admirable singers and contributed significantly to the evening's resounding success. 

****1
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“the libretto is filled with vulgar puns, double entendres and general silliness”
Crítica hecha desde Teatro Rossini, Pesaro el 8 agosto 2024
Rossini, L'equivoco stravagante
Rossini Opera Festival
Michele Spotti, Dirección
Moshe Leiser, Dirección de escena
Christian Fenouillat, Diseño de escena
Agostino Cavalca, Diseño de vestuario
Christophe Forey, Diseño de iluminación
Filarmonica Gioachino Rossini
Coro del Teatro della Fortuna "M. Agostini"
Patrice Caurier, Dirección de escena
Nicola Alaimo, Gamberotto
Maria Barakova, Ernestina
Carles Pachón, Buralicchio
Pietro Adaíni, Ermanno
Patricia Calvache, Rosalia
Matteo Macchioni, Frontino
Mirca Rosciani, Dirección de coro
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