I am not a great fan of Rossini. Having said that the poor chap is really quite blameless. After all, what do I know of him? I've seen Il Barbiere di Siviglia several times, it is true, and love its overture as well as that of his Guillaume Tell, his last opera, reckoned by many to be Rossini's masterpiece. Such was the enthusiasm when it was first put on stage, that, to mark the event, a Tarte aux pommes Guillaume Tell, was created, an apple tart decorated with a sugar apple-cum-arrow, or so I read somewhere.

What about the stunning overture of La Gazza Ladra?  Perhaps I do like Rossini after all although not to the extent I am devoted to Puccini and Verdi, and to Bizet's Carmen.

Rossini's  epic work is said to be Il Viaggio a Reims which demanded ten, yes, ten first class soloists and full ballet. Such casting makes the work almost impossibly expensive to stage today.

 

It is interesting to note that after his death Rossini's body from Paris was returned to Florence and attended by over 6,000 mourners. It is said that when the chorus sang the Prayer from Moses in Egypt at the service, the crowd demanded an encore.

Surely Rossini would have loved it.

But to get back to the young Gioachino Rossini (1792-1868), born in Pesaro, who narrowly escaped castration suggested by an uncle who admired his voice. He devoted himself, body and soul, to music studies. He was born on 29 February and like others celebrated his birthday once every four years, 30 out of 76, as the composer used to say "with a degree of affectation." His output is prolific and versatile.

Apart from music Rossini had another love, food. His taste buds developed helped by the culinary ability of his grandmother from Romagna.  For a short while he took up lodgings at a butcher's. Later in life he declared that he  would have  liked to have been a charcutier.

 

Armida, for the first time ever, at our Teatru Manoel was supported by Bank of Valletta. Without support how can our national theatre produce such an opera?

I attended the last performance and was very  happy to see that the theatre was full, with mostly tourists. La generosità Italiana was also evident. Both His Excellency the ambassador, Fabrizio Romano and his signora, herself a distinguished musician, were there. Why  was H.E. sitting one row ahead of us and not further front or in a box?

In his introductory words at the beginning of a generous programme, available at the door,  which even includes the libretto, His Excellency said that he had always been a proud Rossini enthusiast "and I welcomed with particular emotion the choice of the Manoel management to present to the Maltese public this superb work by this great Pesarese, which I had last seen in the composer's own hometown, way back in 1993. This is a choice of very high cultural quality which, thanks also to the excellent cast, allows the Theatre to place itself with authority among those European musical institutions capable of attracting enthusiasts and music lovers even from across the border..." And it has as was evident that Sunday from the divers audience.

What struck me first of all in Armida, was the use of painted backdrops, the artistic director's idea (that is Adrian Mamo.) On stage it all happened within those gilded frames, very old ones at that, discovered by Adrian in the archives of our national theatre.

What also gave me much pleasure was the elegance of the protagonists, with costume designs by Luke Azzopardi. I have not seen such a bunch of elegant men for a long time. This is the age of comfort with holes in jeans, trainers wherever you go, ties abandoned, and generally a total lack of elegance. I find it soul destroying. But Luke dressed the men, singers and so on, in elegant tuxedos, I suppose one can call them and above all the proper shoes to go with them. Patent leather. What have Maltese men got against good black leather shoes? Generally they wear brown shoes and worse still tan shoes for goodness sake. I even spotted our prime minister on television going about his business in tan shoes. He is generally well turned out but what possessed him to wear a red gilet and tan shoes? Please send them to a charity shop and never wear them again, onorevoli.

 

The soprano, Elisa Balbo, was truly superb and had so much singing to do and did it so beautifully. Luke dressed her well and I am not going to complain that she wore suspenders  and her black panties were showing. She has the legs for it and strategic parts were properly covered.

I am not going to comment about the singers: the tenors, the bass, the choir and so on. They did not have very strong voices but still, they held their own and did very well.

 

The choir, instead of huddling at the back all wearing black, wore different costumes and handbags and strolled around on the stage. Realistic and refreshing.

Luke even managed those who were barely dressed, dancers,  to appear elegant in skin coloured underwear.

All in all, a successful production with excellent direction by Paul Carr and our own Malta Philharmonic Orchestra conducted by Maestro Davide Levi, in full control.

As an English chap behind us said, "There was something for everyone". Indeed there was.  As long as it isn't offensive and in your face, let everyone do their own thing.  

I can only say Thank You for educating me with an opera which is completely new to me.

I believe I like Rossini after all.  

 

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Photos: Sebio Aquilina