BY SALINA MYAT
The Turk in Italy
Opera Australia
Sydney Opera House, 15 August
If opera is perceived to be an elitist niche that is separate to mainstream society, Opera Australia’s recent production of Rossini’s The Turk in Italy has certainly disproved the stereotype.
There is absolutely nothing unwelcoming about Simon Phillip’s alluring retro take on Rossini’s opera buffa. Especially effective is the incredibly well-rehearsed timing of the slap-stick action on stage, which does so much to bring the banterous comedy of the libretto to life. With the novelty of nonsensical stage props, juggling acrobats and high-energy performance of the OA chorus, three hours of a fairly convoluted narrative seems to whizz by in a comedic delight.
I think an opera like The Turk in Italy, that doesn’t take itself too seriously, is perfectly suited to a reimagination that is so unapologetically different. The subtle alterations of the surtitle translations to a more Australian idiom, especially in the rapid exchange of insults, adds an extra element of hilarity. A definite favourite moment for me is the fortepiano rendition of Love me Tender played by Siro Battaglin in act two, which welcomes a parade of cast members dressed in identical Elvis and Marilyn Monroe costumes to the stage in a display that grows progressively more obscene as time goes on.
The glamour of the 1950s-reminiscent setting complements the narrative of the opera so naturally, adding a layer of comedy purely in the mental dissonance of watching a disco-club dance scene take place to the soundtrack of Rossini’s highly cadence-saturated score.
Stacey Alleaume shines in the role of Fiorilla, delivering incredible musical virtuosity in a manner that convincingly embodies the flirtatious and lively personality of her character. I especially enjoy her scenes with Paolo Bordogna as Selim, who really does impress with his outrageous stage antics and ease of vocal delivery; both seeming to have a very natural stage rapport with each other. Warwick Fyfe’s mastery of the ‘patter music’ in Don Geronimo’s role is comically entertaining and technically impressive, effectively exemplifying his flustered and pompous character.
To me, the energy of the theatre feel more lively; the audience and the cast feeding off one another in what seems like a more two-way exchange than I’m accustomed to. Throughout the performance, I can’t help but smile every time the lady next to me laughs or remarks loudly about the next outrageous thing to happen on stage. Despite being trained as a polite concertgoer, this isn’t a context in which I feel in any way inclined to hush anyone having as a good time.
Leaving the theatre that night, it felt less like I had ‘gone to the opera’ and more like I had just witnessed a flashy live-action rom-com, with the extra pizzazz of vocal virtuosity, high-energy choreography, and glamorous costume and set design that no TV screen would be able to offer.
Images courtesy Opera Australia, credit Keith Saunders.
