Nino Rota gained fame as a composer of film scores, collaborating with world-renowned directors such as Federico Fellini and Luchino Visconti. He achieved global recognition in 1972 with the soundtrack for The Godfather, one of the most iconic melodies in the world, even today. However, Rota's career was not confined to the film industry; he was a prolific composer of orchestral, chamber and choral music, as well as a few operas. His most famous opera, Il cappello di paglia di Firenze (The Florentine Straw Hat), was composed in 1945, based on an 1851 French vaudeville. The libretto was written by Rota himself, in collaboration with his mother, Ernesta Rota Rinaldi, an accomplished pianist from a musical family.
Rota’s musical style is built on several key influences. The overture, reminiscent of Mozart and Rossini, sets the tone, with Rossini being directly referenced throughout the composition, notably in the seamstresses’ chorus “Svelto, vola vola l’ago” and particularly in the concertato “Io casco dalle nuvole”, a clear homage to the ‘confusion scenes’ typical of a Rossini opera buffa. Another significant influence is operetta, particularly Offenbach and Lehár, whose lively spirit is evident in the Baroness of Champigny's party. Additionally, there are continuous references to verismo and the “Giovane Scuola” movement.
Il cappello was not performed until 1955, where it was met with great success from the audience, although critics deemed the work too old-fashioned due to its clear tonality and focus on beautiful melodies. Despite this, the orchestration is sophisticated and inspired; its main faults are perhaps a certain long-windedness of the libretto, and the lack of a true female protagonist.
The production presented by the Teatro alla Scala was brought to life by the Accademia, with students not only taking on the principal singing roles but also performing as the orchestra, chorus, dancers, and fulfilling all other technical support roles. The Accademia orchestra was conducted by the experienced Donato Renzetti, who allowed the musicians to relax and perform at their best without over-managing them. The result was a vibrant performance, characterised by a rich, beautiful sound and some remarkable solo work. Renzetti maintained a careful balance between the pit and the stage, ensuring a lively, effervescent pace throughout. They delivered an impressive performance, with great legato, perfect rhythm and intelligent phrasing.
The story is a whimsical farce where a wedding party spends the entire day wandering around Paris in search of the titular straw hat, leading to a series of absurd situations. Director Mario Acampa reimagines the action in the 20th century, setting it in a hat factory. Here, Fadinard, a janitor in love with one of the seamstresses, is knocked out during a fistfight and dreams the entire plot. In his dream, he becomes a wealthy bourgeois man about to marry his beloved, living a life of social status about which he can only fantasise. While the concept may not be entirely original, it is executed with skill and complements the story's extravagant nature. Acampa's direction is meticulous, always serving Rota's music. The singers and dancers engage in frenzied movements, running up and down stairs, leaning out of windows, all with remarkable ease and impressive acting skills. Riccardo Sgaramella's set design features a revolving cube representing the hat factory, which transforms into various other settings as it turns, revealing different ‘dollhouse’ environments.
The singers from the Accademia delivered remarkable performances in this production, showcasing their vocal prowess, dedicated acting, and infectious enthusiasm. Andrea Tanzillo’s light tenor was well-suited to the role of Fadinard; though he might have lacked some projection, he confidently handled the very high notes the part requires. Xhieldo Hyseni’s booming and authoritative bass was perfect for the role of Fadinard’s father-in-law, and his comedic timing was spot-on in the slapstick gag of the country bumpkin struggling with tight shoes. Chao Liu made a strong impression as Beaupertuis, the jealous husband (a staple in such stories), with his smooth bass-baritone and a legato worthy of a more solemn plot. His pronunciation was impeccable.
Among the female performers, María Martín Campos shone as Elena, the bride, with her lyrical soprano, excellent high notes and beautiful filati. Greta Doveri portrayed the unfaithful wife (another stock character) with a strong, smooth soprano, rich in the middle range. Marcela Rahal’s ravishing, mellow mezzo gave the Baroness of Champigny all the seductive allure she required, with a timbre that remained uniform across her range. Fan Zhou, as the milliner (La modista), delivered a performance marked by a strong and beautiful soprano. The rest of the minor characters also demonstrated great technique and beautiful singing, rounding out an overall excellent cast.
At the end, our dreaming janitor is awoken by a kiss of his beloved seamstress: dreams do come true.
