Photo by Georges Antoni
What a hoot! And, at times, a real schemozzle! All Sydney summer ‘hunky spunks’ and ‘chicky babes’ should not miss such an entertaining romp through the perils and paths of love. Opera Australia cleverly morphs Rossini’s two-hundred-year-old opera buffa into a sunny 1950’s treat. It is accessible to both opera enthusiasts or festival goers new to the genre alike.
The chorus’ beachside choreography during the overture is slick, sunglassed slapstick. It suggests the fun ride to come. Bit by bit the surtitles surprise with translation-tweaking into Australian idiom. Some language shocks when sharp slang appears. However, as Rossini used the current Italian language to deliver his wit, this adaptation also employs our sometimes larrikin vernacular.This radical update may be in danger of being an expertly directed and designed gimmick if it were not for the formidable operatic skills of this cast preserving the essence of Rossini’s creation. Every caricature on the stage offers their role with traditional operatic skill firmly in place.
A stunning example of such a rounded performance is that from diva Emma Matthews as the flirty Fiorella. Matthews’s vocal intensity and flexibility thrills Sydney once more. Her ‘shenanigans’ as seaside floozy and expressive ‘dial’ see her cover all stage areas at a cracking pace. Matthews’s vocal fireworks ensure true showstopper status.
The Turk is played with equal period panache, fine voice and terrific sideburns by Paolo Bordogna. His creation of this larger-than-life persona always maintains the comic tone and inflection with well-timed delivery. His competition, Narciso, is sung well by tenor Luciano Botelho. Among hectic costume changes and much movement, Botelho is a worthy, penetrating instrument for Rossini’s lyricism as well as busy filigree.
The king in the building during this 50’s opera buffa emerges through Conal Coad’s portrayal of husband Don Geronio. In all states of mind, dress, undress, fancy dress, muttered duet and ensemble, he inimitably shapes many scenes.
Rossini’s poet-narrator ordering the action survives this update as a theatrical device. Samuel Dundas ensures his very twentieth-century, wise barman character sings clear introductions and masters the comic opera quip with neat, waistcoated style. Fiorella’s competition for man-action with the Turk, Zaide, resonates well both vocally and dramatically at the gifted hands of Anna Dowsley. The sitcom’s mixing pot is further stirred by her in the opera’s second act.
Spend some time with Opera Australia at the beach this Sydney Festival. For a limited time only! Bring your hat and sunnies. The Turk in Italy is a bright success which laps up wave after wave of applause.
Rating: Four and a half stars out of five.
The Turk in Italy
Conductor: Andrea Molino
Director: Simon Phillips
Presented by Opera Australia in association with the Sydney Festival
Joan Sutherland Theatre, Sydney Opera House, East Circular Quay
Sydney Festival
www.sydneyfestival.org.au
22 & 25 January
