Lady and the Champs

The Italian Girl in Algiers

by Peter Burwasser

KELLY & MASSA PHOTOGRAPHY LOLCAST: For all its goofball humor, dazzling visual flair and witty choreography, it was Lawrence Brownlee (far left) who stole the show. (CLICK IMAGE FOR LARGER VERSION)

All of the elements seemed to be in place for a first-class go at Rossini's popular comic opera The Italian Girl in Algiers: Music director Corrado Rovaris is a natural Rossini conductor; the combination of set designer Paul Shortt and costume designer Richard St. Clair made for a dazzling visual presentation; and the cast appeared to be an ideal mix of seasoned veterans and exciting newcomers. And overall, this was a delightful way to spend an evening. Yet somehow the very good parts failed to coalesce into a completely coherent whole.

The chief problem was at the very core of the drama, the saucy girl referred to in the title, Isabella. Romanian mezzo Ruxandra Donose, who has sung Rossini here before, has a lush instrument, and certainly the physical presence to play the wily seductress (not too many divas have the goods to go bare midriff). But her voice, rarely projecting beyond the stage with any kind of compelling sense of character, lacked dynamic range and lumbered somewhat through the rapid coloratura passages. Surprisingly, the sound of Rovaris' orchestra, while graceful and beautifully balanced, was also uncharacteristically lacking in sparkle. Bass Kevin Glavin, in a signature role as Mustafà, the clumsy pursuer of the Italian girl, may not have an especially agile voice, either, but his comic gifts carry the day. As his neglected wife, Elvira, Kiera Duffy threw out a saucy, sexy charm that evaded Donose.

The standout vocalism this evening belonged to extraordinary young tenor Lawrence Brownlee, a fine actor with a meltingly beautiful voice, displaying a tonality as sweet and ripe as a late summer peach. His rendition of Lindoro's famous Act 1 aria was a showstopper. It is, above all else, the effortless quality of both his singing and theatrical presence that makes Brownlee a riveting performer, without a doubt one at the brink of a major career. 

The look of the production only enhanced director Stefano Vizioli's perky, witty choreography; washes of lavender gave way to giant stripes of eye-popping color added to boldly outlined costumes and props, giving the stage the feel of a classic 1930s Disney cartoon feature.

In short, the sheer entertainment value of the production, and not least the opportunity to hear a truly spectacular new singer, are more than enough reason to recommend it.

(p_burwasser@citypaper.net)

The Italian Girl in Algiers Through Nov. 23, Opera Company of Philadelphia, Academy of Music, 1420 Locust St., 215-893-1999, operaphilly.com