OPERA REVIEW

ISRAELI OPERA ROSSINI: LA GAZZETTA OPERA HOUSE, MARCH 29

By URY EPPSTEIN
April 3, 2017 21:34
1 minute read.
‘LA GAZZETTA’

‘LA GAZZETTA’. (photo credit: YOSSI ZWECKER)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analysis from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later

As a long forgotten comic opera revived by the Royal Opera of Wallonie from Liege and performed at the Israeli Opera, Rossini’s La Gazzetta has some curiosity value.

Its plot is nonsensical, confused and confusing, and its music is not quite on the high level of this composer’s other comic operas, The Barber of Seville and Cenerentolla (Cinderella), but it still provides some mild amusement.

Stefano Mazzonis di Prallafeera’s direction was lively, elegant, well-choreographed and occasionally humorous. Jean Guy Lecat’s sets were mainly conservative, decorated with some would-be modernist pretensions, naively symbolized by on-stage ascending and descending elevators and some anachronistic video-screens.

Noteworthy among the singers were Daniele Zanfardino whose radiant tenor, as Alberto, represented a credible lover. Enrico Maria Marabelli’s dark-timbred baritone created a pompous Pomponio and a veritable comic talent. Rossini’s characteristic tongue-twisters were performed with viruosity. Cinzia Forte’s bright soprano enacted a charming, rebellious Lisetta, although somewhat too mature for her role.

Conducted by Jan Schultsz, the Opera de Wallonie Chorus and Orchestra expertly provided the vocal and instrumental support, emphasizing the comic moments.

When all is said and sung, one wonders whether Rossini had not been rendered a better service by letting this forgotten opera remain forgotten.

Join Jerusalem Post Premium Plus now for just $5 and upgrade your experience with an ads-free website and exclusive content. Click here>>

Related Content

June 26, 2019
Brunch newcomers

By BUZZY GORDON

Cookie Settings