Rossini: Il Viaggio a Reims (Gergiev)

Introduction

A performance of what was Rossini`s last Italian (apparently) opera, filmed over 3 nights in Paris during December 2005.

It is the 28th of May, 1825, and several distinguished (and not-so-distinguished) members of the European elite have gathered at the Golden Lily Inn somewhere in Austria. They are on their way to the coronation of the French king, Charles X (or `the tenth` to those who knew him well).

The plot is practically opaque, and indeed, almost superfluous, as Rossini was obviously out to create some of the best vocal music he had ever produced, especially for the best singers of his time, and luckily he was rather successful.

Video

Very good indeed (NSTC again with Opus-Arte, which for some reason I forgot first time around, and was wondering why everything was slightly cloudy), despite some camera-focus infidelities, but it`s a live show and anything can happen.

Audio

Presented in DTS and LPCM stereo, and to be honest, the stereo wins hands down this time.

There are several sections in which the cast disappears into the audience and the microphones seem to have to catch up with them when in DTS mode, but the Stereo option is far better in securing a more consistent balance.

With the orchestra on stage, there are moments (again in DTS - I didn`t check everything again in stereo) where the detail of the vocal lines is lost, but I suspect we are luckier watching the DVD that the live audience were at times.

Features

Synopsis, cast gallery and a few subtitles, which is a great shame, as a production such as this deserves a documentary.

Conclusion

Such an opera, with a dreadful plot and practically no dramatic impetus should have sunk without trace. It`s fortunate then, that Rossini produced an amazing amount of invention, which was obviously a result of the skill of the singers he had at his disposal at the time.

The staging by Alain Maratrat, dispenses with the orchestra pit, placing them in full view of the audience, and dressing them up like a café band. This means that there is plenty of room between the players and the audience, and so the interaction between everyone in the theatre becomes part of the show (a big `HAHA` to the idea that Baron von Trombonok first appeared from the back of the band holding a trombone).

The large cast means it`s difficult to single anyone out for special attention, although there are moments of sheer magnificence from Larissa Youdina (the Contessa - wearing dresses that reminded me of my favourite liquorice allsorts), Anastasia Belyaeva (Madame Cortese) and Daniil Shtoda (Libenskof) (despite it being a shame his eyes don`t show any passion about his singing at all).

Rossini was certainly in his element here, as the final act shows especially well. The series of `national` songs gives us the impression that he had a surplus of fine singers from which to pick (a probably intentionally funny rendition of `God Save the King` by the token Englishman, with a dubious translation, makes things even more satisfying)and rounds everything off perfectly.

All in all, this is a fine addition to the increasing amount of Rossini operas on DVD, and one which shows the singers of the Mariinsky Theatre Academy in the best possible light.

Just before I watched this DVD, it was announced that Opus-Arte had been bought out by the Royal Opera House. I`m hoping this will be a great benefit to the genre on DVD, and won`t mean that recordings from the other European opera houses are forgotten about. This has been one of the best aspects of Opus-Arte presentations and it would be a disaster if everything became more London-centric.