Name: L'italiana in Algeri
Start: 2018-05-18T00:00:00.000Z
End: 2018-05-20T00:00:00.000Z
Location: Haus für Mozart

Organization

Stage director

Patrice Caurier

Conductor

Jean-Christophe Spinosi

Moshe Leiser

Set designer

Christian Fenouillat

Costume designer

Agostino Cavalca

Lighting designer

Christophe Forey

Video designer

Etienne Guiol

Dramaturge

Christian Arseni

Singer

Mezzo-soprano

Cecilia Bartoli

Isabella

Bass

Peter Kálmán

Mustafa

Tenor

Edgardo Rocha

Lindoro

Baritone

Alessandro Corbelli

Taddeo

José Coca Loza

Haly

Soprano

Rebeca Olvera

Elvira

Rosa Bove

Zulma

Chorus master

Walter Zeh

Salzburger Festspiele

Wiener Staatsoper

Others

Philharmonia Chorus

italiană

germană

L'italiana in Algeri -  (The Italian Girl in Algiers)

Salzburg

Austria

Haus für Mozart

L'italiana in Algeri Rossini

Public

The Italian Girl in Algiers

engleză

Approved

Mustafà, the Bey of Algiers, is fed up with his wife and resolves to discard her for someone with more exotic charms: an attractive Italian girl would be just the ticket. On cue, his pirates intercept the shipwrecked Isabella, who has come looking for her lover, Lindoro. Does a future beckon as the star of Mustafà’s harem? The feisty Isabella is not so easily fazed, and her very first encounter with the sex-hungry Bey confirms her in her tried and tested strategy: coquetry and flattery are her weapons of choice. Soon, a disoriented Mustafà is all at sea. Smug machismo and emancipatory insubordination intersect at the heart of this equally comical and bizarre plot, in which two alien cultures also surprise each other with some strange rituals. In this way a dubious Oriental title is foisted upon one of the Italians, who for their part initiate Mustafà into a fellowship devoted to eating, drinking and sleeping. The real joke, however, lies in the music: L’italiana in Algeri (1813) marks the first full blossom of Rossini’s comic genius, at its most irresistible in moments like the finale of Act I, when the utterly bewildered characters stiffen into marionettes, becoming cogs in an electrifying machinery of rhythm and sound. Stendhal aptly called this music ‘organized and complete madness’.

English

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