Il turco in Italia (2001 TV Movie) User Reviews

A fun production of an underrated gem

[TheLittleSongbird · 7/10 · 28 March 2012]

Il Turco in Italia mayn't be my favourite of Rossini's opera, but it's a lot of fun with lovely music. Very much like this production. Is it flawless? Not quite, I liked it very much, but there were a couple of annoyances. Some of the staging felt very awkward, more in the support cast than with the leads, giving the impression that some performers didn't completely know what they were supposed to be doing. Also a problem was the stage noise, inevitably there was going to be some, but did it have to be so noisy that it detracted from the drama? On the other hand, I did like the bright and colourful sets and the costumes(minus the straw hats) were appealing. The video direction is not the best I've seen but it was clear and sharp with some good close ups(once you get past those of Bartoli's occasionally contorted facial expressions). Rossini's music is wonderful, can't enough of Selim and Geronio's patter duet, and I have to say the orchestral playing was one of the best assets of this performance, subtle, nuanced and playful. The conducting is brisk and energetic.

The performances are good, sometimes even great. The great ones are Cecilia Bartoli and Ruggero Raimondi. Bartoli's facial expressions as I've said can have a tendency to be contorted, but she is a warm and vibrant presence overall with great comic timing, and her voice has a smoky beauty to it singing the difficult colouratura with ease. Raimondi may have been better vocally, but it still produced a good sound with even better style(essential for Rossini). His acting, as ever, is extraordinary, his years of experience(40+ years?) speaks volumes.

I agree to some extent that Paolo Rumetz is a little young for Don Geronio, but the singing is beautiful and unforced and he looks natural on the stage. Reinaldo Macias has a lovely, agile voice if not exactly powerful, and he is a good actor especially with what he does with his cane. Oliver Widmer ties the opera together to some extent and he's solid. Judith Schmid is perhaps the weak link, not because she's bad, but I would have preferred a stronger voice for the role of Zaid.

All in all, I love Rossini and I found this production fun if not quite great. 7/10 Bethany Cox

It's Rossini and it's fun - what more do you want?

[Rosabel · 6/10 · 24 July 2005]

This is a very light-hearted production of a lesser-known Rossini comic opera. It is a live performance, with all the drawbacks that that entails - some singers are less audible from certain positions on-stage, but there is a lot of movement, so such a problem tends to be short-lived. The moving about can occasionally get noisy, too - characters stepping on and off the raised stage almost always make a loud thump, perhaps because microphones were located near the front - I seldom noticed it if people were walking around in the background. The sets are a bit goofy, but bright-colored and amusing; the chairs look particularly uncomfortable.

For the most part the singing is quite good - Raimondi, who is by far the best actor, has a nice strong voice as Selim, and can sing as fast as anyone. The duet between Selim and Don Geronio in Act II, which culminates in a blistering patter song as the two threaten to murder each other, is the highlight of the opera. Paolo Rumetz is good as Don Geronio, though I think that maybe the role was originally intended for an older man - I get the impression that Geronio and Fiorilla are supposed to be a ridiculous May/December mismatch, with a feeble old man unable to control his young, lively wife. Still, this Geronio may not be old, but he does come across as a perpetually fogged simpleton, yet kind-hearted enough not to lose the audience's sympathy. Cecilia Bartoli is a fine singer, but her Fiorilla seems so much tougher than Geronio that it's hard not to feel sorry for him. I think she might be trying too hard to be brilliant and fascinating - her singing part is a difficult one, so she's got a lot to handle, but her facial contortions can be a bit off-putting. She might have done better just to relax and sing instead of trying to act so much. Reinaldo Macias is not the strongest tenor I've heard, but he's not a bad actor, and he bears an astonishing resemblance to a young Jean-François Balmer. It's quite delightful to see him simply lapse into bliss every time he catches sight of his own reflection in the polished knob of his fancy walking stick. This is one of those productions one may not want to watch from beginning to end all that often, but it is a lot of fun nevertheless.