Opera Australia’s winter season ends tomorrow.
Earlier in the month, I went to the first night of Rossini’s The Turk in Italy. Last night, to celebrate D’s return from China the day before, I went again with D.
Aside from the celebration, I wanted to take D because I enjoyed the first night so much. I thought that D had not seen it in 2014 when this production was first staged.
I should be more careful in my practice of adding “with D” in this blog because in this I was mistaken. Still, no harm done.
Simon Phillips’ production is a slapstick one, set at a ‘fifties beach resort. I don’t think I have given such a high ratio of my attention to the stage business over activity in the orchestra for a long time. When I saw it the first time and again on the first night, there were lots of laugh-out-aloud moments, and not a few beach-themed jokes, such as when all of the gentlemen in the chorus wrestled with their deck chairs in the overture.
I’m not so convinced with the Ockerisms in the surtitles or a few other touches. Surely this is a vein well-mined in Phillips’ previous production of The Elixir of Love where at least it was integral to the whole production. Here it was at odds with the wonderful Italian set.
The problem with a joke can be that once it is told, you’ve heard it. One such joke is in the last act, when there is a masquerade party. In this production, all the men, bar one, turn up (entirely by coincidence) as Elvis Presley and all the women as Marilyn Monroe. The joke does not sustain the scene.
At interval I overheard Robert Gay, lecturer about town (and father of the now more famous Virgina) saying that he enjoyed it more the first time he had seen it and I wouldn’t be surprised if the joke-told factor accounted for that.
One piece of business, involving a phallicly-placed and shaken champagne bottle (far from the only phallic joke of the evening) and popped cork, did not survive the first night. The “cork,” in reality thrown by one or other of Selim (the Turk) and Fiorila landed in the orchestra pit and struck the principal viola. People could have been hurt; more likely, valuable instruments could have been damaged; but it’s also a matter of R.E.S.P.E.C.T. – the musicians hate it when that sort of thing happens. You’d have thought that would have been sorted out in 2014. Instead next time round Stacey Alleume as Fiorila wrenched the cork off and stowed it in her cleavage. A bit lame if you had seen the original and a pity that they couldn’t have mastered throw to the rear of the stage. The problem is I suppose that if it has gone wrong a repetition would be unforgiveable and so a risk not to be taken.
Stacey Alleaume is being touted as the next big thing after her appearance earlier this year in The Merry Widow. Next year she will have a number of prominent roles. I wouldn’t say she yet fills the shoes of Emma Matthews, the 2014 Fiorila.
Last night didn’t get quite such a warm reception as the first night. I guess that’s the first night “home crowd” advantage. Nor was it as full as it deserved to be. Could it be people are less willing to pay top dollar for something so slight and silly?
(picture above Keith Saunders; filched from Fairfax)