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The Promised Land in Piacenza Piacenza
Teatro Municipale
10/25/2024 - & October 18, 20 (Modena), 27 (Piacenza), November 15, 17 (Reggio Emilia), 2024
Gioacchino Rossini: Mosè in Egitto
Michele Pertusi (Mosè), Dave Monaco (Osiride), Andrea Pellegrini (Faraone), Aida Pascu (Elcia), Mariam Battistelli (Amaltea), Angela Schisano (Amenofi), Matteo Mezzaro (Aronne), Andrea Galli (Mambre)
Coro Lirico di Modena, Giovanni Farina (Chorus Master). Orchestra Filarmonica Italiana, Giovanni Di Stefano (Conductor)
Pier Francesco Maestrini (Stage Director), Nicolás Boni (Sets & Videography), Stefania Scaraggi (Costumes), Bruno Ciulli (Lighting)
(© Rolando Paolo Guerzoni)
Before the unification of Italy, Naples, capital of the Bourbon Kingdom of the Two Sicilies, was by far the largest and most prosperous Italian city. It was also the peninsula’s most important operatic center, thanks to the enterprising impresario Domenico Barbaja (1778‑1841), who assembled the finest operatic singers. Between 1815 and 1822, Rossini focused his activities around Naples and composed with these virtuosi in mind. During this fertile period, Rossini composed some of his best opere serie, affectionately known as the “Naples Nine”: Elisabetta, Regina d’Inghilterra (1815), Otello (1816), Armida (1817), Mosè in Egitto (1818), Ricciardo e Zoraida (1818), Ermione (1819), La donna del lago (1819), Maometto II (1820) and Zelmira (1822). Despite being some of Rossini’s finest works, sadly few are now performed, as they demand exceptionally virtuosic singers. Recently I had the good fortune to see Otello in Frankfurt, Ermione in Pesaro and now Mosè in Egitto in Piacenza.
Piacenza is the westernmost city in the beautiful region of Emilia-Romagna, in central Italy. Its opera house was built in 1804 and has a capacity of 1,120. With a population of 100,000, it is rather surprising that they have an opera house at all, let alone that it would present an opera as obscure as Rossini’s Mosè in Egitto as opposed to Tosca, La bohème, Carmen or La traviata, as they would in North America or elsewhere, in cities tenfold Piacenza’s population. Indeed, last season, I had the pleasure of seeing another rarity, Vivaldi’s Tamerlano, ovvero la morte de Bajazet (1735) in Piacenza. For the latter and for Mosè, the city’s Teatro Municipale was sold out.
So how is this achieved? The secret is that several small Italian cities collaborate, in a brilliant initiative advanced three decades hence. The cities are all within the Emilia-Romagna region, and include Ravenna, Modena and Reggio Emilia, as well as the Tuscan city of Lucca. With theatres of comparable capacity in each market, each season they share most productions. Piacenza’s 2023‑24 offerings include six operas: Verdi’s Otello and I due Foscari; Donizetti’s Anna Bolena; Puccini’s Turandot; Spontini’s La vestale; and Rossini’s Mosè in Egitto. Companies in many larger markets could not dream of mounting such alluring operatic feasts.
Billed as azione sacro‑santa at its 1818 premiere, the choice of topic was made so as to circumvent the proscription of secular works during Lent. The plot revolves around the Exodus of the Jews from Egypt.
In Act I, Egypt is in darkness as punishment for Pharaoh’s continued captivity of the Hebrews. Pharaoh promises to release them if the sun shines again. Prince Osiride, the son of Pharaoh, is in love with a Jewish maiden, Elcia, and does not want her to leave. He conspires with the High Priest Mambre who foments a revolt among the Egyptians opposing the freeing of the Hebrews. Osiride’s soldiers are on the verge of killing Moses when Pharaoh prevents them. Fires rain down on Egypt.
In Act II, Pharaoh has decided to let the Hebrews go to avoid Moses’s curse and God’s punishment. The impetuous Osiride carries Elcia to a cave, but Aaron knows where they are. Once more, Pharaoh breaks his pledge to Moses. In response, Moses declares that Osiride and all firstborn males of the country will be struck by lightning. But just as Osiride gives the order to kill Moses, lightning strikes him dead.
In Act III, Moses and his people have crossed Egypt’s eastern desert, but Pharaoh and his army are in their pursuit. Moses touches the waters of the Red Sea with his staff to make a pathway for the Hebrews to cross. As Pharaoh and his army follow, the pathway disappears and the pursuers perish.
Michele Pertusi, the leading Italian bass of his generation, was an excellent choice for the title role. Highly admired a week ago as Banquo in the French version of Macbeth in Parma, this veteran bass is a remarkable actor, and his voice remains as beautiful as ever. His Act II aria, “ Tu di ceppi n’aggravi,” in which he admonishes Pharaoh, was truly moving, conveying both authority and piety.
Italian tenor Dave Monaco, a bel canto specialist, was an impressive Osiride. Not only is he endowed with a beautiful malleable voice that is at ease in the upper register, he is also an expressive actor. He was passionately convincing in his Act I duet with Elcia, “Ah! Se puoi così lasciarmi.” This young singer is set to be a Rossini star tenor.
Romanian soprano Aida Pascu, who sang Elcia, has a unique timbre in a role usually sung by brighter coloratura sopranos. Her voice, which extends over a vast range, has qualities more evocative of a mezzo, though she has no difficulty with higher notes. She also stood out thanks to her huge charisma. I can easily imagine her singing Rossini’s mezzo trouser roles, as her unique timbre is almost androgynous. I’ll follow her career; it’ll be interesting to see what path she takes.
Bass Andrea Pellegrini was an imposing Faraone (Pharaoh), a role more dramatically than vocally demanding. He ably expressed grief at the death of his son Osiride at the end of Act II. Ethiopian-Italian soprano Mariam Battistelli impressed as Amaltea, wife of Pharaoh. Her stage presence was striking and her voice appealing, contrasting well with Pascu’s. Again, this is not as demanding a role as Mosè, Osiride or Elcia. The other supporting roles were all well sung and acted.
In this oratorio-like work, the chorus is of the utmost importance. Chorus master Giovanni Farina did an impressive job preparing the Coro Lirico di Modena in a work that I guess was new to all. Giovanni Di Stefano led the Orchestra Filarmonica Italiana with panache. The brisk tempi at the many tumultuous moments of this “action opera” added to the overall agitated mood. The reflective moments, such as the Act III prayer, were soulfully rendered.
What was truly astounding about this presentation was that its creative team were able to mount a spectacle that was visually appealing yet modestly budgeted. By using painted canvases and projections of enticing images of Ancient Egypt, one was immediately transported to the period. These images were inspired by nineteenth century paintings and lithographs. Seventh Plague of Egypt by John Martin (1789‑1854), paintings by Jean‑Léon Gérôme (1824‑1904) and other Orientalist painters and the many lithographs by Scotsman David Roberts (1796‑1864) are likely sources. Likewise, the beautiful costumes of both the Egyptians and the Hebrews were derived from similar Orientalist sources.
The plague of locusts and the rain of fire were thrillingly shown by means of realistic video. The lavish court of Pharaoh, Egyptian temples and a picturesque cave were superbly represented by video and painted canvases that complemented one another. The most highly-awaited scene was the short third act. At its premiere, it was ridiculed for its brevity and for the unconvincing effects showing Moses parting the sea long enough for the Hebrews to cross into the Promised Land, and the subsequent drowning of Pharaoh and his army. Thankfully technical problems were subsequently resolved.
The haunting prayer “Dal tuo stellato soglio” became one of Rossini’s most popular melodies, transcribed for violin by Paganini and for piano by others. Piacenza’s public were not disappointed by the impressive videography, especially the spectacular tsunami that engulfed the Egyptians.
Visually or vocally, this production of a work unfamiliar to most was a resounding success. Many will recall for years to come the excellent singing and amazing visual effects seen in this opera. Congratulations are in order for all concerned.
Ossama el Naggar
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