The Turk In Italy

Make no mistake, from the second you see the beach montage, set to Rossini’s glorious overture, you know that this is going to be a “fun” night. Anything starring the divine Emma Matthews, she of the thrill trills, is bound to bring pleasure. Hers is a world class coloratura voice, and the role of Fiorilla might have been written by Rossini with her in mind. The amazing 50s style set, a revolving café on the beach which resembles a wedding cake, is a triumph and a star in its own right; it is complemented by a fabulous array of 50s influenced costumes which are a riot of colour. Both are the work of designer Gabriela Tylesova, who brings a “voice” to rival Ms Matthews. Marvellous work from both ladies.

Rossini’s light and frothy Opera Buffa is a classic example of the style that made him the most prolific and popular opera composer in Italian history; but when it slowly disintergrates into Benny Hill, then I have to question some of the director’s choices. The storyline is convoluted but with all the elements of both opera and farce. Prosdocimo (Samuel Dundas), a playwright (though the opera says poet) is working as a waiter whilst trying to find a plot for the farce he is writing. When a Turkish Pasha Selim (Shane Lowrencev) arrives, a comic tale unfolds; for in the gypsy camp at the beach is Zaida (Anna Dowsley) a girl who has escaped from Selim’s harem but truly loves him. But Selim has an eye for Fiorilla, the flirtatious wife of the café’s owner, Geronio (Andrew Moran) and Narciso (John Longmuir) is the husband’s best friend who lusts after….well you get the picture.

The music, as with all Rossini’s creations, is light and witty in its own right, yet is virtually swamped by the excesses of comic business which frequently are superficially imposed. Delicious flirtation becomes simulated sex with more phallic symbols than you can shake a ….er…phallic symbol at. It does beg the question though of whether the work would even hold up in this day and age without the “OTT” treatment. It’s interesting to note that by the interval the belly-laughs had trickled to chuckles and overall the production had lost pace and impulsion. Act Two does provide some genuine insight into Fiorilla’s character, which the sublime Ms Matthews capitalises on, but the comic shtick still takes pride of place. How many Elvis impersonators is one too many? Perhaps, while Gilbert and Sullivan operetta still goes from strength to strength, Opera Bouffe has passed its use-by date.

There is some fine singing apart from the brilliant Ms Matthews. Anna Dowsley, making her debut, has a powerful and melodic mezzo voice which belies her waif-like frame; John Longmuir is a very fine tenor and he made the wise decision to forego the emphasis on slapstick to concentrate on singing his role; Samuel Dundas is in excellent voice and charming presence as Prosdocimo; Andrew Moran sings well but seems uncomfortable much of the time as Geronio; Shane Lowrencev brings great richness to his bass register once you get past the Borat persona; and the always excellent Graeme MacFarlane is wasted as the underdrawn Albazar.

This will surely be a great introduction to opera for those who believe it to be overly dark and depressing…..it’s a triumph of “Colour and Movement” over musical substance. On the other hand, if you hanker for the engaging quicksilver wit and beauty of Rossini’s albeit “slight” work, put on a good recording of it and watch a “Carry On” movie…the effect will provide similar fun.

Coral Drouyn

Images: Anna Dowsley as Zaida & Andrew Moran as Geronio with Opera Australia Chorus; Shane Lowrencev as Selim & Emma Matthews as Fiorilla; and Andrew Moran as Geronio, Emma Matthews as Fiorilla, Shane Lowrencev as Selim & John Longmuir as Narciso in Opera Australia's THE TURK IN ITALY. Photographer: Jeff Busby.